第一篇 APPLIED ARTS AND FINE ARTS
Although we now tend to refer to the various crafts according to the materials used to construct them-clay, glass, wood, fiber, and metal-it was once common to think of crafts in terms of function, which led to their being known as the "applied arts." Approaching crafts from the point of view of function, we can divide them into simple categories: containers, shelters and supports．There is no way around the fact that containers, shelters, and supports must be functional．The applied arts are thus bound by the laws of physics, which pertain to both the materials used in their making and the substances and things to be contained, supported, and sheltered．These laws are universal in their application, regardless of cultural beliefs, geography, or climate．If a pot has no bottom or has large openings in its sides, it could hardly be considered a container in any traditional sense．Since the laws of physics, not some arbitrary decision, have determined the general form of applied-art objects, they follow basic patterns, so much so that functional forms can vary only within certain limits．Buildings without roofs, for example, are unusual because they depart from the norm．However, not all functional objects are exactly alike; that is why we recognize a Shang Dynasty vase as being different from an Inca vase．What varies is not the basic form but the incidental details that do not obstruct the object's primary function．
Sensitivity to physical laws is thus an important consideration for the maker of applied-art objects．It is often taken for granted that this is also true for the maker of fine-art objects．This assumption misses a significant difference between the two disciplines．Fine-art objects are not constrained by the laws of physics in the same way that applied-art objects are．Because their primary purpose is not functional, they are only limited in terms of the materials used to make them．Sculptures must, for example, be stable, which requires an understanding of the properties of mass, weight distribution, and stress．Paintings must have rigid stretchers so that the canvas will be taut, and the paint must not deteriorate, crack, or discolor．These are problems that must be overcome by the artist because they tend to intrude upon his or her conception of the work．For example, in the early Italian Renaissance, bronze statues of horses with a raised foreleg usually had a cannonball under that hoof．This was done because the cannonball was needed to support the weight of the leg．In other words, the demands of the laws of physics, not the sculptor's aesthetic intentions, placed the ball there．That this device was a necessary structural compromise is clear from the fact that the cannonball quickly disappeared when sculptors learned how to strengthen the internal structure of a statue with iron braces (iron being much stronger than bronze).
Even though the fine arts in the twentieth century often treat materials in new ways, the basic difference in attitude of artists in relation to their materials in the fine arts and the applied arts remains relatively constant．It would therefore not be too great an exaggeration to say that practitioners of the fine arts work to overcome the limitations of their materials, whereas those engaged in the applied arts work in concert with their materials.
Paragraph 1: Although we now tend to refer to the various crafts according to the materials used to construct them-clay, glass, wood, fiber, and metal-it was once common to think of crafts in terms of function, which led to their being known as the "applied arts." Approaching crafts from the point of view of function, we can divide them into simple categories: containers, shelters and supports．There is no way around the fact that containers, shelters, and supports must be functional．The applied arts are thus bound by the laws of physics, which pertain to both the materials used in their making and the substances and things to be contained, supported, and sheltered．These laws are universal in their application, regardless of cultural beliefs, geography, or climate．If a pot has no bottom or has large openings in its sides, it could hardly be considered a container in any traditional sense．Since the laws of physics, not some arbitrary decision, have determined the general form of applied-art objects, they follow basic patterns, so much so that functional forms can vary only within certain limits．Buildings without roofs, for example, are unusual because they depart from the norm．However, not all functional objects are exactly alike; that is why we recognize a Shang Dynasty vase as being different from an Inca vase．What varies is not the basic form but the incidental details that do not obstruct the object's primary function. 3．The word they in the passage refers to ○applied-art objects ○the laws of physics ○containers ○the sides of pots 4．Which of the following best expresses the essential information in the highlighted sentence? Incorrect answer choices change the meaning in important ways or leave out essential information． ○Functional applied-art objects cannot vary much from the basic patterns determined by the laws of physics． ○The function of applied-art objects is determined by basic patterns in the laws of physics． ○Since functional applied-art objects vary only within certain limits, arbitrary decisions cannot have determined their general form． ○The general form of applied-art objects is limited by some arbitrary decision that is not determined by the laws of physics. Paragraph 2: Sensitivity to physical laws is thus an important consideration for the maker of applied-art objects．It is often taken for granted that this is also true for the maker of fine-art objects．This assumption misses a significant difference between the two disciplines．Fine-art objects are not constrained by the laws of physics in the same way that applied-art objects are．Because their primary purpose is not functional, they are only limited in terms of the materials used to make them．Sculptures must, for example, be stable, which requires an understanding of the properties of mass, weight distribution, and stress．Paintings must have rigid stretchers so that the canvas will be taut, and the paint must not deteriorate, crack, or discolor．These are problems that must be overcome by the artist because they tend to intrude upon his or her conception of the work．For example, in the early Italian Renaissance, bronze statues of horses with a raised foreleg usually had a cannonball under that hoof．This was done because the cannonball was needed to support the weight of the leg．In other words, the demands of the laws of physics, not the sculptor's aesthetic intentions, placed the ball there．That this device was a necessary structural compromise is clear from the fact that the cannonball quickly disappeared when sculptors learned how to strengthen the internal structure of a statue with iron braces (iron being much stronger than bronze). 5．According to paragraph 2, sculptors in the Italian Renaissance stopped using cannonballs in bronze statues of horses because ○they began using a material that made the statues weigh less ○they found a way to strengthen the statues internally ○the aesthetic tastes of the public had changed over time ○the cannonballs added too much weight to the statues 6．Why does the author discuss the bronze statues of horses created by artists in the early Italian Renaissance? ○To provide an example of a problem related to the laws of physics that a fine artist must overcome ○To argue that fine artists are unconcerned with the laws of physics ○To contrast the relative sophistication of modern artists in solving problems related to the laws of physics ○To note an exceptional piece of art constructed without the aid of technology 7．An introductory sentence for a brief summary of the passage is provided below．Complete the summary by selecting the THREE answer choices that express the most important ideas in the passage．Some sentences do not belong in the summary because they express ideas that are not presented in the passage or are minor ideas in the passage．This question is worth 2 points. This passage discusses fundamental differences between applied-art objects and fine-art objects． ● ● ● Answer Choices 1．The fine arts are only affected by the laws of physics because of the limitations of the materials that are used．2．Applied-art objects are bound by the laws of physics in two ways: by the materials used to make them, and the function they are to serve．3．Crafts are known as "applied arts" because it used to be common to think of them in terms of their function．4．In the fine arts, artists must work to overcome the limitations of their materials, but in the applied arts, artists work in concert with their materials．5．Making fine-art objects stable requires an understanding of the properties of mass, weight, distribution, and stress．6．In the twentieth century, artists working in the fine arts often treat materials in new ways whereas applied arts specialists continue to think of crafts in terms of function. 8．Directions: Complete the table below to summarize information about the two types of art discussed in the passage．Match the appropriate statements to the types of art with which they are associated．This question is worth 3 points. TYPES OF ART STATEMENTS The Applied Arts Select 3 ● ● ● The Fine Arts Select 2 ● ● Statements 1．An object's purpose is primarily aesthetic． 2．Objects serve a functional purpose． 3．The incidental details of objects do not vary． 4．Artists work to overcome the limitations of their materials． 5．The basic form of objects varies little across cultures． 6．Artists work in concert with their materials． 7．An object's place of origin is difficult to determine. Drag your answer choices to the spaces where they belong．To review the passage, click on View Text. 參考答案： 3.○applied-art objects 4.○Functional applied-art objects cannot vary much from the basic patterns determined by the laws of physics． 5.○they found a way to strengthen the statues internally 6.○To provide an example of a problem related to the laws of physics that a fine artist must overcome 7.○ 2 4 6 8.○ 2 5 6 1 4
參考譯文 即便我們現(xiàn)在趨于根據(jù)主體材質(zhì)來歸類各種手工藝品，比如陶土，玻璃，木頭， 纖維還有金屬， 我們更通常通過他們的功能來歸類， 這就是實用藝術(shù)品。 通過按功能來區(qū)分手工藝品的觀點，我們可以把它她們分為：容器，遮蔽物，支撐物。毫無疑問容器，遮蔽物，支撐物能打會其功能。實用藝術(shù)品因為要考慮用于制造和要容納，支撐，遮擋的物品的質(zhì)地繼而受到客觀條件的限制。 這些條件具有普遍性，不受文化信仰，地理條件和氣候所左右。如果一個壺沒有底或者在一側(cè)有一個大開口，在任何傳統(tǒng)意義上他都就很難被看作一個容器。 由于實用藝術(shù)品的一般形式取決于客觀條件，不可以武斷，它們遵循基本的樣式，這樣功能形式才能被明確的限定。 舉個例子，建筑沒有屋頂非常不尋常，因為它違反了規(guī)范。雖然，并不是所有的功能物品都非常相似，那也是為什么我們鑒別商代花瓶和印加花瓶 不同。區(qū)別不是他們的基本功能不同而是那些不影響其基本功能附帶細(xì)節(jié)帶來的。 實用藝術(shù)品制作者會將其對于客觀條件的敏感作重要考量。 人們也往往想當(dāng)然的認(rèn)為對于純藝術(shù)品制造者也是如此。這種假定忽略了兩者重要的不同點。純藝術(shù)品不像實用藝術(shù)品那樣受到客觀條件的約束。 因為他們的基礎(chǔ)訴求不是功能性，它們僅僅受限于他們用來制作的材料。據(jù)個例子，雕塑必須要牢固，這就需要了解質(zhì)量，重量分布和壓力方面的參數(shù)。繪畫必須有堅挺的支架，以使畫布繃緊，并且繪畫也不可以有毀損，裂紋，活著變色。這些藝術(shù)家必須克服的，因為塔門往往侵犯到了她們對于藝術(shù)品的構(gòu)想。舉個例子，在意大利文藝復(fù)興早期，抬起一條腿的馬的青銅像，往往有一個炮彈在腳下。這樣做因為需要炮彈去支撐腿的中的重量。換言之，炮彈擺著那里不是因為藝術(shù)家的對于美的意愿，而是因為客觀條件的要求。從雕塑家學(xué)到如何用鐵支架加強他們的內(nèi)部結(jié)構(gòu)后，炮彈就很快消失的這個事實上就知道， 這個設(shè)計很明確是對于必要的結(jié)構(gòu)性的妥協(xié)。（鐵比青銅來的結(jié)實得多） 雖然在20世紀(jì)純藝術(shù)經(jīng)常用心的方法處理材料，藝術(shù)家關(guān)于材料態(tài)度的基本區(qū)別仍是相對不變的。因此，不夸大的說，純藝術(shù)的從業(yè)人員為克服材料的限制而工作，而從事實用美術(shù)的人則根據(jù)材料來工作。
Paragraph 1: Although we now tend to refer to the various crafts according to the materials used to construct them-clay, glass, wood, fiber, and metal-it was once common to think of crafts in terms of function, which led to their being known as the "applied arts." Approaching crafts from the point of view of function, we can divide them into simple categories: containers, shelters and supports．There is no way around the fact that containers, shelters, and supports must be functional．The applied arts are thus bound by the laws of physics, which pertain to both the materials used in their making and the substances and things to be contained, supported, and sheltered．These laws are universal in their application, regardless of cultural beliefs, geography, or climate．If a pot has no bottom or has large openings in its sides, it could hardly be considered a container in any traditional sense．Since the laws of physics, not some arbitrary decision, have determined the general form of applied-art objects, they follow basic patterns, so much so that functional forms can vary only within certain limits．Buildings without roofs, for example, are unusual because they depart from the norm．However, not all functional objects are exactly alike; that is why we recognize a Shang Dynasty vase as being different from an Inca vase．What varies is not the basic form but the incidental details that do not obstruct the object's primary function. 3．The word they in the passage refers to ○applied-art objects ○the laws of physics ○containers ○the sides of pots 4．Which of the following best expresses the essential information in the highlighted sentence? Incorrect answer choices change the meaning in important ways or leave out essential information． ○Functional applied-art objects cannot vary much from the basic patterns determined by the laws of physics． ○The function of applied-art objects is determined by basic patterns in the laws of physics． ○Since functional applied-art objects vary only within certain limits, arbitrary decisions cannot have determined their general form． ○The general form of applied-art objects is limited by some arbitrary decision that is not determined by the laws of physics. Paragraph 2: Sensitivity to physical laws is thus an important consideration for the maker of applied-art objects．It is often taken for granted that this is also true for the maker of fine-art objects．This assumption misses a significant difference between the two disciplines．Fine-art objects are not constrained by the laws of physics in the same way that applied-art objects are．Because their primary purpose is not functional, they are only limited in terms of the materials used to make them．Sculptures must, for example, be stable, which requires an understanding of the properties of mass, weight distribution, and stress．Paintings must have rigid stretchers so that the canvas will be taut, and the paint must not deteriorate, crack, or discolor．These are problems that must be overcome by the artist because they tend to intrude upon his or her conception of the work．For example, in the early Italian Renaissance, bronze statues of horses with a raised foreleg usually had a cannonball under that hoof．This was done because the cannonball was needed to support the weight of the leg．In other words, the demands of the laws of physics, not the sculptor's aesthetic intentions, placed the ball there．That this device was a necessary structural compromise is clear from the fact that the cannonball quickly disappeared when sculptors learned how to strengthen the internal structure of a statue with iron braces (iron being much stronger than bronze). 5．According to paragraph 2, sculptors in the Italian Renaissance stopped using cannonballs in bronze statues of horses because ○they began using a material that made the statues weigh less ○they found a way to strengthen the statues internally ○the aesthetic tastes of the public had changed over time ○the cannonballs added too much weight to the statues 6．Why does the author discuss the bronze statues of horses created by artists in the early Italian Renaissance? ○To provide an example of a problem related to the laws of physics that a fine artist must overcome ○To argue that fine artists are unconcerned with the laws of physics ○To contrast the relative sophistication of modern artists in solving problems related to the laws of physics ○To note an exceptional piece of art constructed without the aid of technology 7．An introductory sentence for a brief summary of the passage is provided below．Complete the summary by selecting the THREE answer choices that express the most important ideas in the passage．Some sentences do not belong in the summary because they express ideas that are not presented in the passage or are minor ideas in the passage．This question is worth 2 points. This passage discusses fundamental differences between applied-art objects and fine-art objects． ● ● ● Answer Choices 1．The fine arts are only affected by the laws of physics because of the limitations of the materials that are used．2．Applied-art objects are bound by the laws of physics in two ways: by the materials used to make them, and the function they are to serve．3．Crafts are known as "applied arts" because it used to be common to think of them in terms of their function．4．In the fine arts, artists must work to overcome the limitations of their materials, but in the applied arts, artists work in concert with their materials．5．Making fine-art objects stable requires an understanding of the properties of mass, weight, distribution, and stress．6．In the twentieth century, artists working in the fine arts often treat materials in new ways whereas applied arts specialists continue to think of crafts in terms of function. 8．Directions: Complete the table below to summarize information about the two types of art discussed in the passage．Match the appropriate statements to the types of art with which they are associated．This question is worth 3 points. TYPES OF ART STATEMENTS The Applied Arts Select 3 ● ● ● The Fine Arts Select 2 ● ● Statements 1．An object's purpose is primarily aesthetic． 2．Objects serve a functional purpose． 3．The incidental details of objects do not vary． 4．Artists work to overcome the limitations of their materials． 5．The basic form of objects varies little across cultures． 6．Artists work in concert with their materials． 7．An object's place of origin is difficult to determine. Drag your answer choices to the spaces where they belong．To review the passage, click on View Text. 參考答案： 3.○applied-art objects 4.○Functional applied-art objects cannot vary much from the basic patterns determined by the laws of physics． 5.○they found a way to strengthen the statues internally 6.○To provide an example of a problem related to the laws of physics that a fine artist must overcome 7.○ 2 4 6 8.○ 2 5 6 1 4
參考譯文 即便我們現(xiàn)在趨于根據(jù)主體材質(zhì)來歸類各種手工藝品，比如陶土，玻璃，木頭， 纖維還有金屬， 我們更通常通過他們的功能來歸類， 這就是實用藝術(shù)品。 通過按功能來區(qū)分手工藝品的觀點，我們可以把它她們分為：容器，遮蔽物，支撐物。毫無疑問容器，遮蔽物，支撐物能打會其功能。實用藝術(shù)品因為要考慮用于制造和要容納，支撐，遮擋的物品的質(zhì)地繼而受到客觀條件的限制。 這些條件具有普遍性，不受文化信仰，地理條件和氣候所左右。如果一個壺沒有底或者在一側(cè)有一個大開口，在任何傳統(tǒng)意義上他都就很難被看作一個容器。 由于實用藝術(shù)品的一般形式取決于客觀條件，不可以武斷，它們遵循基本的樣式，這樣功能形式才能被明確的限定。 舉個例子，建筑沒有屋頂非常不尋常，因為它違反了規(guī)范。雖然，并不是所有的功能物品都非常相似，那也是為什么我們鑒別商代花瓶和印加花瓶 不同。區(qū)別不是他們的基本功能不同而是那些不影響其基本功能附帶細(xì)節(jié)帶來的。 實用藝術(shù)品制作者會將其對于客觀條件的敏感作重要考量。 人們也往往想當(dāng)然的認(rèn)為對于純藝術(shù)品制造者也是如此。這種假定忽略了兩者重要的不同點。純藝術(shù)品不像實用藝術(shù)品那樣受到客觀條件的約束。 因為他們的基礎(chǔ)訴求不是功能性，它們僅僅受限于他們用來制作的材料。據(jù)個例子，雕塑必須要牢固，這就需要了解質(zhì)量，重量分布和壓力方面的參數(shù)。繪畫必須有堅挺的支架，以使畫布繃緊，并且繪畫也不可以有毀損，裂紋，活著變色。這些藝術(shù)家必須克服的，因為塔門往往侵犯到了她們對于藝術(shù)品的構(gòu)想。舉個例子，在意大利文藝復(fù)興早期，抬起一條腿的馬的青銅像，往往有一個炮彈在腳下。這樣做因為需要炮彈去支撐腿的中的重量。換言之，炮彈擺著那里不是因為藝術(shù)家的對于美的意愿，而是因為客觀條件的要求。從雕塑家學(xué)到如何用鐵支架加強他們的內(nèi)部結(jié)構(gòu)后，炮彈就很快消失的這個事實上就知道， 這個設(shè)計很明確是對于必要的結(jié)構(gòu)性的妥協(xié)。（鐵比青銅來的結(jié)實得多） 雖然在20世紀(jì)純藝術(shù)經(jīng)常用心的方法處理材料，藝術(shù)家關(guān)于材料態(tài)度的基本區(qū)別仍是相對不變的。因此，不夸大的說，純藝術(shù)的從業(yè)人員為克服材料的限制而工作，而從事實用美術(shù)的人則根據(jù)材料來工作。