2024-02-20 15:14:05 | 蜕变培训网
TPO模考工具是我没复习托福非常好的帮手,属于我们一定要好好利用,下面我给大家带来托福阅读真题:TPO11原文及答案,欢迎阅读参考!
托福阅读真题:TPO11原文
Ancient Egyptian Sculpture
In order to understand ancient Egyptian art, it is vital to know as much as possible of the elite Egyptians' view of the world and the functions and contexts of the art produced for them. Without this knowledge we can appreciate only the formal content of Egyptian art, and we will fail to understand why it was produced or the concepts that shaped it and caused it to adopt its distinctive forms. In fact, a lack of understanding concerning the purposes of Egyptian art has often led it to be compared unfavorably with the art of other cultures: Why did the Egyptians not develop sculpture in which the body turned and twisted through space like classical Greek statuary? Why do the artists seem to get left and right confused? And why did they not discover the geometric perspective as European artists did in the Renaissance? The answer to such questions has nothing to do with a lack of skill or imagination on the part of Egyptian artists and everything to do with the purposes for which they were producing their art.
The majority of three-dimensional representations, whether standing, seated, or kneeling, exhibit what is called frontality: they face straight ahead, neither twisting nor turning. When such statues are viewed in isolation, out of their original context and without knowledge of their function, it is easy to criticize them for their rigid attitudes that remained unchanged for three thousand years. Frontality is, however, directly related to the functions of Egyptian statuary and the contexts in which the statues were set up. Statues were created not for their decorative effect but to play a primary role in the cults of the gods, the king, and the dead. They were designed to be put in places where these beings could manifest themselves in order to be the recipients of ritual actions. Thus it made sense to show the statue looking ahead at what was happening in front of it, so that the living performer of the ritual could interact with the divine or deceased recipient. Very often such statues were enclosed in rectangular shrines or wall niches whose only opening was at the front, making it natural for the statue to display frontality. Other statues were designed to be placed within an architectural setting, for instance, in front of the monumental entrance gateways to temples known as pylons, or in pillared courts, where they would be placed against or between pillars: their frontality worked perfectly within the architectural context.
Statues were normally made of stone, wood, or metal. Stone statues were worked from single rectangular blocks of material and retained the compactness of the original shape. The stone between the arms and the body and between the legs in standing figures or the legs and the seat in seated ones was not normally cut away. From a practical aspect this protected the figures against breakage and psychologically gives the images a sense of strength and power, usually enhanced by a supporting back pillar. By contrast, wooden statues were carved from several pieces of wood that were pegged together to form the finished work, and metal statues were either made by wrapping sheet metal around a wooden core or cast by the lost wax process. The arms could be held away from the body and carry separate items in their hands; there is no back pillar. The effect is altogether lighter and freer than that achieved in stone, but because both perform the same function, formal wooden and metal statues still display frontality.
Apart from statues representing deities, kings, and named members of the elite that can be called formal, there is another group of three-dimensional representations that depicts generic figures, frequently servants, from the nonelite population. The function of these is quite different. Many are made to be put in the tombs of the elite in order to serve the tomb owners in the afterlife. Unlike formal statues that are limited to static poses of standing, sitting, and kneeling, these figures depict a wide range of actions, such as grinding grain, baking bread, producing pots, and making music, and they are shown in appropriate poses, bending and squatting as they carry out their tasks.
Paragraph 1: In order to understand ancient Egyptian art, it is vital to know as much as possible of the elite Egyptians' view of the world and the functions and contexts of the art produced for them. Without this knowledge we can appreciate only the formal content of Egyptian art, and we will fail to understand why it was produced or the concepts that shaped it and caused it to adopt its distinctive forms. In fact, a lack of understanding concerning the purposes of Egyptian art has often led it to be compared unfavorably with the art of other cultures: Why did the Egyptians not develop sculpture in which the body turned and twisted through space like classical Greek statuary? Why do the artists seem to get left and right confused? And why did they not discover the geometric perspective as European artists did in the Renaissance? The answer to such questions has nothing to do with a lack of skill or imagination on the part of Egyptian artists and everything to do with the purposes for which they were producing their art.
托福阅读真题:TPO11题目
1. The word “vital” in the passage is closest in meaning to
attractive
essential
usual
practical
2. Paragraph 1 suggests that one reason Egyptian art is viewed less favorably than other art is that Egyptian art lacks
a realistic sense of human body proportion
a focus on distinctive forms of varying sizes
the originality of European art
the capacity to show the human body in motion
3. In paragraph 1, the author mentions all of the following as necessary in appreciating Egyptian art EXCEPT an understanding of
the reasons why the art was made
the nature of aristocratic Egyptian beliefs
the influences of Egyptian art on later art such as classical Greek art
how the art was used
Paragraph 2: The majority of three-dimensional representations, whether standing, seated, or kneeling, exhibit what is called frontality: they face straight ahead, neither twisting nor turning. When such statues are viewed in isolation, out of their original context and without knowledge of their function, it is easy to criticize them for their rigid attitudes that remained unchanged for three thousand years. Frontality is, however, directly related to the functions of Egyptian statuary and the contexts in which the statues were set up. Statues were created not for their decorative effect but to play a primary role in the cults of the gods, the king, and the dead. They were designed to be put in places where these beings could manifest themselves in order to be the recipients of ritual actions. Thus it made sense to show the statue looking ahead at what was happening in front of it, so that the living performer of the ritual could interact with the divine or deceased recipient. Very often such statues were enclosed in rectangular shrines or wall niches whose only opening was at the front, making it natural for the statue to display frontality. Other statues were designed to be placed within an architectural setting, for instance, in front of the monumental entrance gateways to temples known as pylons, or in pillared courts, where they would be placed against or between pillars: their frontality worked perfectly within the architectural context.
4. According to paragraph 2, why are Egyptian statues portrayed frontality?
To create a psychological effect of distance and isolation
To allow them to fulfill their important role in ceremonies of Egyptian life
To provide a contrast to statues with a decorative function
To suggest the rigid, unchanging Egyptian philosophical attitudes
5. The word “context” in the passage is closest in meaning to
connection
influence
environment
requirement
6. The author mentions “an architectural setting” in the passage in order to
suggest that architecture was as important as sculpture to Egyptian artists
offer a further explanation for the frontal pose of Egyptian statues
explain how the display of statues replaced other forms of architectural decoration
illustrate the religious function of Egyptian statues
7. The word “they” in the passage refers to
statues
gateways
temples
pillared courts
Paragraph 3: Statues were normally made of stone, wood, or metal. Stone statues were worked from single rectangular blocks of material and retained the compactness of the original shape. The stone between the arms and the body and between the legs in standing figures or the legs and the seat in seated ones was not normally cut away. From a practical aspect this protected the figures against breakage and psychologically gives the images a sense of strength and power, usually enhanced by a supporting back pillar. By contrast, wooden statues were carved from several pieces of wood that were pegged together to form the finished work, and metal statues were either made by wrapping sheet metal around a wooden core or cast by the lost wax process. The arms could be held away from the body and carry separate items in their hands; there is no back pillar. The effect is altogether lighter and freer than that achieved in stone, but because both perform the same function, formal wooden and metal statues still display frontality.
8. According to paragraph 3, why were certain areas of a stone statue left uncarved?
To prevent damage by providing physical stability 蜕变培训网
To emphasize that the material was as important as the figure itself
To emphasize that the figure was not meant to be a real human being
To provide another artist with the chance to finish the carving
9. The word “core” in the passage is closest in meaning to
material
layer
center
frame
10. According to paragraph 3, which of the following statements about wooden statues is true?
Wooden statues were usually larger than stone statues.
Wooden statues were made from a single piece of wood.
Wooden statues contained pieces of metal or stone attached to the front.
Wooden statues had a different effect on the viewer than stone statues.
Paragraph 4: Apart from statues representing deities, kings, and named members of the elite that can be called formal, there is another group of three-dimensional representations that depicts generic figures, frequently servants, from the nonelite population. The function of these is quite different. Many are made to be put in the tombs of the elite in order to serve the tomb owners in the afterlife. Unlike formal statues that are limited to static poses of standing, sitting, and kneeling, these figures depict a wide range of actions, such as grinding grain, baking bread, producing pots, and making music, and they are shown in appropriate poses, bending and squatting as they carry out their tasks.
11. The word depicts in the passage is closest in meaning to
imagines
classifies
elevates
portrays
12. According to paragraph 4, what is the difference between statues that represent the Egyptian elite and statues that represent the nonelite classes?
Statues of the elite are included in tombs, but statues of the nonelite are not.
Statues of the elite are in motionless poses, while statues of the nonelite are in active poses.
Statues of the elite are shown standing, while statues of the nonelite are shown sitting or kneeling.
Statues of the elite serve an important function, while statues of the nonelite are decorative.
Paragraph 4: Apart from statues representing deities, kings, and named members of the elite that can be called formal, there is another group of three-dimensional representations that depicts generic figures, frequently servants, from the nonelite population. The function of these is quite different. Many are made to be put in the tombs of the elite in order to serve the tomb owners in the afterlife. Unlike formal statues that are limited to static poses of standing, sitting, and kneeling, these figures depict a wide range of actions, such as grinding grain, baking bread, producing pots, and making music, and they are shown in appropriate poses, bending and squatting as they carry out their tasks.
13. Look at the four squares [] that indicate where the following sentence could be added to the passage.
In fact, it is the action and not the figure itself that is important.
Where would the sentence best fit?
14.Directions: An introductory sentence for a brief summary of the passage is provided below. Complete the summary by selecting the THREE answer that express the most important ideas in the passage. Some sentences do not belong in the summary because they express ideas that not presented in the passage or are minor ideas in the passage. This question is worth 2 points.
The distinctive look of ancient Egyptian sculpture was determined largely by its function.
Answer Choices
The twisted forms of Egyptian statues indicate their importance in ritual actions.
The reason Egyptian statues are motionless is linked to their central role in cultural rituals.
Stone, wood, and metal statues all display the feature of frontality.
Statues were more often designed to be viewed in isolation rather than placed within buildings.
The contrasting poses used in statues of elite and nonelite Egyptians reveal their difference in social status.
Although the appearances of formal and generic statues differ, they share the same function.
托福阅读真题:TPO11答案
1. 2
2. 4
3. 3
4. 2
5. 3
6. 2
7. 1
8.1
9. 3
10. 4
11. 4
12. 2
13. 4
14. The reason Egyptian
Stone, wood, and
The contrasting poses
托福阅读真题:TPO11原文及答案相关 文章 :
★ 11.26托福考试解析之一:独立口语和写作
2023年托福考试阅读真题一览(6月19日)您好,我是专注留学考试规划和留学咨询的小钟老师。在追寻留学梦想的路上,选择合适的学校和专业,准备相关考试,都可能让人感到迷茫和困扰。作为一名有经验的留学顾问,我在此为您提供全方位的专业咨询和指导。欢迎随时提问!很多需要完成托福考试的学生,都会通过阅读一些考试的真题来确定考试的形式以及出题的习惯。那么对于刚刚完成的6月19日的托福考试,就有很
2023年托福听力考试真题详情一览(9月25日)您好,我是专注留学考试规划和留学咨询的小钟老师。在追寻留学梦想的路上,选择合适的学校和专业,准备相关考试,都可能让人感到迷茫和困扰。作为一名有经验的留学顾问,我在此为您提供全方位的专业咨询和指导。欢迎随时提问!9月25日的托福考试现在也完成了,有许多的学生对于这次考试的真题内容比较感兴趣,想要从中掌握托福备考的方法。那么小钟老师就给大家来
托福阅读真题练习100篇:05(原文+题目+答案)您好,我是专注留学考试规划和留学咨询的小钟老师。留学申请的每一步都充满挑战,我在这里为您提供从留学目的地选择到申请材料准备的全方位支持。您的留学梦想,我们一同实现,敬请访问!托福阅读在备考的过程中,大家可以多找一些真题来进行练习。下面为大家整理了托福阅读真题练习100篇:05(原文+题目+答案),供大家参考。原文:Per
2023年3月27日托福听力考试真题答案您好,我是专注留学考试规划和留学咨询的小钟老师。在追寻留学梦想的路上,选择合适的学校和专业,准备相关考试,都可能让人感到迷茫和困扰。作为一名有经验的留学顾问,我在此为您提供全方位的专业咨询和指导。欢迎随时提问!针对托福考试中的听力考试,大家在备考听力考试的时候可以做一下近期的托福听力考试真题,下面是小钟老师为大家分享的托福听力考试的相关内容,来看
2021年8月托福口语考试真题(8月21日)口语考试对于很多考生来说是有一定难度的,托福考试中的口语部分学生很难拿到高分,为大家带来了2021年8月21日托福口语考试真题,可以来看看。2021年8月21日托福口语考试真题1.一些人喜欢保存老旧的物件;另一些喜欢把老旧的东西扔掉,你喜欢哪一种?2.同学提出proposal:想让currentstudentsandalumnia
新托福阅读真题答题技巧详解之排除题您好,我是专注留学考试规划和留学咨询的小钟老师。留学申请的每一步都充满挑战,我在这里为您提供从留学目的地选择到申请材料准备的全方位支持。您的留学梦想,我们一同实现,敬请访问!新托福考试阅读部分共有10种题型,下面我们就针对这些题型,为大家一一介绍和解读,希望能帮助大家对托福考试的阅读部分有更准确的把握。新托福考试阅读真题十种题型:Basic
2023年10月19日托福写作考试真题及答案您好,我是专注留学考试规划和留学咨询的小钟老师。在追寻留学梦想的路上,选择合适的学校和专业,准备相关考试,都可能让人感到迷茫和困扰。作为一名有经验的留学顾问,我在此为您提供全方位的专业咨询和指导。欢迎随时提问!上周末完成的托福考试,相信大家都对真题和答案很感兴趣,那么今天就来和小钟老师一起来看看2023年10月19日托福写作考试真题及答案。
流畅英语口语教程电子版流畅英语口语培训班如下:1、新东方:新东方,全名北京新东方教育科技(集团)有限公司,总部位于北京市海淀区中关村,新东方英语以应试英语培训为主,目前业务涵盖早教、学前、小学、中学、考研、冬令营、出国留学、图书、在线教育等,校区众多,分布广,实力不可小。2、环球雅思教育:高端雅思英语培训机构,思隶属于环球天下教育科技集团,号称中国最大的教育连锁
2023-12-12 23:01:54
2024-01-11 02:20:04
2023-12-18 12:09:18
2023-12-14 16:37:34
2023-10-16 23:57:18
2023-10-13 00:54:28