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托福閱讀原文

China has one of the world's oldestcontinuous civilizations—despite invasions and occasional foreign rule. Acountry as vast as China with so long-lasting a civilization has a complexsocial and visual history, within which pottery and porcelain play a majorrole.

The function and status of ceramics inChina varied from dynasty to dynasty, so they may be utilitarian, burial,trade-collectors', or even ritual objects, according to their quality and theera in which they were made. The ceramics fall into three broadtypes—earthenware, stoneware, and porcelain—for vessels, architectural itemssuch as roof tiles, and modeled objects and figures. In addition, there was animportant group of sculptures made for religious use, the majority of whichwere produced in earthenware.

The earliest ceramics were fired toearthenware temperatures, but as early as the fifteenth century B.C.,high-temperature stone wares were being made with glazed surfaces. During theSix Dynasties period (AD 265-589), kilns in north China were producinghigh-fired ceramics of good quality. White wares produced in Hebei and Henanprovinces from the seventh to the tenth centuries evolved into the highlyprized porcelains of the Song dynasty (AD. 960-1279), long regarded as one ofthe high points in the history of China's ceramic industry. The tradition ofreligious sculpture extends over most historical periods but is less clearlydelineated than that of stone wares or porcelains, for it embraces the oldcustom of earthenware burial ceramics with later religious images andarchitectural ornament. Ceramic products also include lead-glazed tomb modelsof the Han dynasty, three-color lead-glazed vessels and figures of the Tangdynasty, and Ming three-color temple ornaments, in which the motifs wereoutlined in a raised trail of slip—as well as the many burial ceramics producedin imitation of vessels made in materials of higher intrinsic value.

Trade between the West and the settled andprosperous Chinese dynasties introduced new forms and different technologies.One of the most far-reaching examples is the impact of the fine ninth-centuryAD. Chinese porcelain wares imported into the Arab world. So admired were thesepieces that they encouraged the development of earthenware made in imitation ofporcelain and instigated research into the method of their manufacture. Fromthe Middle East the Chinese acquired a blue pigment—a purified form of cobaltoxide unobtainable at that time in China—that contained only a low level ofmanganese. Cobalt ores found in China have a high manganese content, whichproduces a more muted blue-gray color. In the seventeenth century, the tradingactivities of the Dutch East India Company resulted in vast quantities ofdecorated Chinese porcelain being brought to Europe, which stimulated andinfluenced the work of a wide variety of wares, notably Delft. The Chinesethemselves adapted many specific vessel forms from the West, such as bottleswith long spouts, and designed a range of decorative patterns especially forthe European market.

Just as painted designs on Greek pots mayseem today to be purely decorative, whereas in fact they were carefully andprecisely worked out so that at the time, their meaning was clear, so it iswith Chinese pots. To twentieth-centuryeyes, Chinese pottery may appear merely decorative, yet to the Chinese the formof each object and its adornment had meaning and significance. The dragonrepresented the emperor, and the phoenix, the empress; the pomegranateindicated fertility, and a pair of fish, happiness; mandarin ducks stood forwedded bliss; the pine tree, peach, and crane are emblems of long life; and fishleaping from waves indicated success in the civil service examinations. Onlywhen European decorative themes were introduced did these meanings becomeobscured or even lost.

From early times pots were used in bothreligious and secular contexts. The imperial court commissioned work and in theYuan dynasty (A.D. 1279-1368) an imperial ceramic factory was established atJingdezhen. Pots played an important part in some religious ceremonies. Longand often lyrical descriptions of the different types of ware exist that assistin classifying pots, although these sometimes confuse an already large andcomplicated picture.

托福閱讀試題

1. The word “status” in thepassage(Paragraph 2)is closest in meaning to

A.origin

B. importance

C.quality

D.design

2.According to paragraph 2, which of thefollowing is true of Chinese ceramics?

A. The function of ceramics remained thesame from dynasty to dynasty.

B.The use of ceramics as trade objects isbetter documented than the use of ceramics as ritual objects.

C. There was little variation in qualityfor any type of ceramics over time.

D.Some religious sculptures were made usingthe earthenware type of ceramics.

3.The word “evolve” in the passage(Paragraph3)is closest in meaning to

A. divided

B.extended

C.developed

D. vanished

4.Which of the sentences below bestexpresses the essential information in the highlighted sentence(Paragraph 3) inthe passage? Incorrect choices change the meaning in important ways or leaveout essential information.

A.While stone wares and porcelains arefound throughout most historical periods, religious sculpture is limited to theancient period.

B.Religious sculpture was created in mostperiods, but its history is less clear than that of stone wares or porcelainsbecause some old forms continued to be used even when new ones were developed.

C.While stone wares and porcelains changedthroughout history, religious sculpture remained uniform in form and use.

D.The historical development of religioussculpture is relatively unclear because religious sculptures sometimes resembleearthenware architectural ornaments.

5.Paragraph 3 supports all of the followingconcerning the history of the ceramic industry in China EXCEPT:

A.The earliest high-fired ceramics were ofpoor quality.

B. Ceramics produced during the Tang andMing dynasties sometimes incorporated multiple colors.

Earthenware ceramics were produced in Chinabefore stone wares were.

D.The Song dynasty period was notable forthe production of high quality porcelain ceramics.

6.The word “instigate” in thepassage(Paragraph 4)is closest in meaning to

A.improved

B.investigated

C. narrowed

D.caused

7.According to paragraph 4, one consequenceof the trade of Chinese ceramics was

A. the transfer of a distinctive bluepigment from China to the Middle East

B.an immediate change from earthenwareproduction to porcelain production in European countries

C.Chinese production of wares made for theEuropean market

D.a decreased number of porcelain vesselsavailable on the European market

8.The word “whereas” in thepassage(Paragraph 5)is closest in meaning to

A. while

B. previously

C.surprisingly

D.because

9.In paragraph 5, the author compares thedesigns on Chinese pots to those on Greek pots in order to

A.emphasize that while Chinese pots weredecorative, Greek pots were functional

B.argue that the designs on Chinese potshad specific meanings and were not just decorative

C.argue that twentieth-century scholars arebetter able to understand these designs than were ancient scholars

D.explain how scholars have identified themeaning of specific images on Chinese pots

10.Which of the following is mentioned inparagraph 5 as being symbolically represented on Chinese ceramics?

A.Chinese rulers

B. love of homeland

C. loyally to friends

D. success in trade

11.Paragraph 5 suggests which of thefollowing about the decorations on Chinese pottery?

A.They had more importance for aristocratsthan for ordinary citizens.

B.Their significance may have remainedclear had the Chinese not come under foreign influence.

C.They contain some of the same images thatappear on Greek pots

D.Their significance is now as clear totwentieth century observers as it was to the early Chinese.

12.The word “these” in the passage(Paragraph6)refers to

A.religious ceremonies

B. descriptions

C.types of ware

D.pots

13. Look at the four squares [■]thatindicate where the following sentence could be added to the passage. Wherecould the sentence best fit? Foreign trade was also responsible for certaininnovations in coloring.

Trade between the West and the settled andprosperous Chinese dynasties introduced new forms and different technologies.One of the most far-reaching examples is the impact of the fine ninth-centuryAD. Chinese porcelain wares imported into the Arab world. ■【A】So admiredwere these pieces that they encouraged the development of earthenware made inimitation of porcelain and instigated research into the method of theirmanufacture. ■【B】From the Middle East the Chinese acquired a blue pigment—a purifiedform of cobalt oxide unobtainable at that time in China—thatcontained only a low level of manganese. Cobalt ores found in China have a highmanganese content, which produces a more muted blue-gray color. ■【C】In theseventeenth century, the trading activities of the Dutch East India Companyresulted in vast quantities of decorated Chinese porcelain being brought toEurope, which stimulated and influenced the work of a wide variety of wares,notably Delft. ■【D】The Chinese themselves adapted many specific vessel forms from theWest, such as bottles with long spouts, and designed a range of decorativepatterns especially for the European market.

14. Directions: An introductory sentencefor a brief summary of the passage is provided below. Complete the summary byselecting the THREE answer that express the most important ideas in thepassage. Some sentences do not belong in the summary because they express ideasthat not presented in the passage or are minor ideas in the passage. Thisquestion is worth 2 points.

Ceramics have been produced in China for avery long time.

A.The Chinese produced earthenware,stoneware, and porcelain pottery and they used their ceramics for a variety ofutilitarian, architectural, and ceremonial purposes.

B. The shape and decoration of ceramicsproduced for religious use in China were influenced by Chinese ceramicsproduced for export.

C.As a result of trade relations, Chineseceramic production changed and Chinese influenced the ceramics production ofother countries.

D. Chinese burial ceramics have the longestand most varied history of production and were frequently decorated withwritten texts that help scholars date them.

E.Before China had contact with the West,the meaning of various designs used to decorate Chinese ceramics was wellunderstood.

F.Ceramics made in imperial factories wereused in both religious and non-religious contexts.

托福閱讀答案

1.status狀態(tài)，地位，所以B的importance重要性，地位正確。原句說(shuō)瓷器的作用和什么因朝代而不同，而且之后有解釋可能是實(shí)用的，用于埋葬的，或者blabla，所以importance能對(duì)上。origin起源不可能因?yàn)槌兓?quality后面有，不應(yīng)該重復(fù);design與后文的例子對(duì)不上

2.問(wèn)題中的關(guān)鍵詞不能用，所以排除法最好。A的dynasty todynasty做關(guān)鍵詞定位至第一句，說(shuō)反，錯(cuò);B的trade objects和ritual objects做關(guān)鍵詞定位至第一句，原文沒(méi)有比較，錯(cuò);C的quality做關(guān)鍵詞定位至第一句，說(shuō)根據(jù)它們質(zhì)量決定用來(lái)干嘛，所以質(zhì)量是有變化的，C錯(cuò);D的religious和earthenware做關(guān)鍵詞定位至最后一句，正確

3.evolve進(jìn)化，演化，所以C的develop正確。原文說(shuō)七到十世紀(jì)的白瓷怎么樣成了宋代的很好的瓷，無(wú)論從時(shí)間上還是后面說(shuō)的highly prized都證明后面的比前面的好，所以應(yīng)該是變好的意思，A分開(kāi)B延伸D消失都沒(méi)有變好之意

4.原文的主要關(guān)系是因果，因果的結(jié)果部分包含了一個(gè)轉(zhuǎn)折，所以從結(jié)構(gòu)上說(shuō)只有B和D可能正確。B正確，D錯(cuò)在原文說(shuō)stoneware和porcelain比religious sculpture清楚，但沒(méi)說(shuō)religious sculpture不清楚，錯(cuò)

5.EXCEPT題，排除法。A的high-firedceramics做關(guān)鍵詞定位至第二句，原文說(shuō)good quality, 備選項(xiàng)說(shuō)poor，反了，錯(cuò)，選;B的Tang and Ming Dynasty做關(guān)鍵詞定位至最后一句，正確，不選;C的earthenware和stoneware做關(guān)鍵詞定位至第一句，原文說(shuō)最早的是earthenware，所以比stoneware早，所以C正確，不選;D的Song dynasty做關(guān)鍵詞定位至第三句，正確，不選

6.nstigate教唆，鼓動(dòng)，煽動(dòng)，所以cause引起正確，注意不要被investigate迷惑。原句說(shuō)那些陶器非常惹人喜愛(ài)，促進(jìn)了earthenware的發(fā)展，也instigate了制陶方法的研究，instigate與原文的encourage并列，所以應(yīng)該是鼓勵(lì)之意。A提升改善B調(diào)查C變窄均不正確

7.以trade of Chineseceramics做關(guān)鍵詞定位至倒數(shù)第二句，問(wèn)結(jié)果，所以應(yīng)該關(guān)注result in之后的內(nèi)容，說(shuō)大量的Chinese porcelain到了歐洲，影響了一系列ware，接著又說(shuō)會(huì)專(zhuān)門(mén)為歐洲市場(chǎng)做一些ware，所以C正確;注意B盡管說(shuō)到了change，但immediate是原文沒(méi)說(shuō)的;A沒(méi)說(shuō);D說(shuō)反了，應(yīng)該是增加

8.注意句子中的seem和in fact，seem叫做看上去，也就是事實(shí)很可能不是這樣，后面的in fact叫做事實(shí)上，也就是說(shuō)前面說(shuō)的很可能不是事實(shí)，兩者呼應(yīng)，都說(shuō)明兩句話(huà)之間的關(guān)系是轉(zhuǎn)折，所以while正確

9.先看本句，現(xiàn)代人認(rèn)為希臘的pots上的design只是裝飾，沒(méi)有實(shí)際意義，但事實(shí)上是有意義的，中國(guó)的pots也這樣，所以B正確。A錯(cuò)，不是pots decorative，而是design;C說(shuō)反，D沒(méi)說(shuō)方式，所以how錯(cuò)

10.問(wèn)下面哪個(gè)是design的替代意義，倒數(shù)第二句整個(gè)都在說(shuō)pots上design的意義，提到了emperor和empress，皇帝和皇后，所以A的Chinese rulers正確，統(tǒng)治者;其他都沒(méi)說(shuō)

11.問(wèn)題中關(guān)鍵詞不明顯，排除法。A的ordinarycitizens和aristocrat原文沒(méi)說(shuō);B的foreign influence做關(guān)鍵詞定位至最后一句的European，說(shuō)直到引入歐洲theme之后中國(guó)原有的裝飾的意思才被obscure，對(duì)應(yīng)B，沒(méi)有foreign influence那些意思不會(huì)改變，正確;C沒(méi)說(shuō);D反了，應(yīng)該是ancient更熟悉

12.these往前找，找主語(yǔ)。注意從句子一開(kāi)始到exist之前都是句子的主語(yǔ)，但of之前的東西是整個(gè)句子的核心，所以答案是description，對(duì)于什么什么的描述，描述才是核心，不是types of ware

13.兩個(gè)過(guò)渡點(diǎn)，名詞foreign trade和coloring。foreigntrade對(duì)應(yīng)原文第四句的from Middle East Chinese acquired blabla和倒數(shù)第二句的tradingactivities，所以B/C/D都有可能;coloring證明B或者C正確。按照正常邏輯，應(yīng)該先總括，說(shuō)外貿(mào)也使染色技術(shù)發(fā)生變化，接著再說(shuō)怎么變的，所以B正確，C錯(cuò)誤

14.The Chinese選項(xiàng)對(duì)應(yīng)第二段第二句，正確

The shape選項(xiàng)原文沒(méi)說(shuō)，不選

As選項(xiàng)對(duì)應(yīng)原文第四段第一句，正確

Chinese選項(xiàng)原文沒(méi)說(shuō)，不選

Before選項(xiàng)對(duì)應(yīng)原文第五段最后一句，正確

Ceramics選項(xiàng)MS對(duì)應(yīng)原文最后一段，但最后一段沒(méi)說(shuō)imperial陶瓷是用于both情況的，也不選

托福閱讀譯文

【1】盡管中國(guó)曾飽受入侵，偶爾喪失主權(quán)受制于外國(guó)，她仍然擁有世界上最源遠(yuǎn)流長(zhǎng)的文明。像中國(guó)一個(gè)擁有悠久文明的大國(guó)，而陶瓷在其復(fù)雜的社會(huì)歷史以及視覺(jué)歷史中扮演了極為重要的角色。

【2】在中國(guó)，每一個(gè)朝代陶瓷的功能和地位都是不同的，所以，根據(jù)它們的質(zhì)量和制作年代的不同，可以是實(shí)用器物、陪葬品、貿(mào)易收藏品，甚至是禮器。對(duì)于容器、瓦片等建筑材料、模仿的物體或人物，陶瓷廣義上被分為3大類(lèi)：陶器、炻器和瓷器。另外，瓷器中還有很重要的一類(lèi)就是宗教用途的雕塑，它們多數(shù)是陶質(zhì)的。

【3】盡管最早的陶瓷是在制陶的溫度下燒制的，但是早在公元前15世紀(jì)，就已經(jīng)出現(xiàn)了上釉的高溫炻器。六朝時(shí)期(公元265-589年)，中國(guó)北方就有窯爐在燒制優(yōu)質(zhì)的高溫瓷器。從7世紀(jì)到10世紀(jì)，河北以及河南省產(chǎn)的白瓷逐漸演變成為享有盛名的宋瓷(公元960-1279年)——長(zhǎng)久以來(lái)被認(rèn)為是中國(guó)陶瓷業(yè)歷史中的巔峰時(shí)期之一。宗教雕塑的傳統(tǒng)在大部分歷史時(shí)期中都有延續(xù)，但是沒(méi)有炻器和瓷器質(zhì)地的雕塑描繪的那么清晰，有一種古老的習(xí)俗，就是將刻著新的宗教形象和建筑裝飾的陶器作為陪葬品。瓷制品還包括漢朝的鉛釉隨葬陶俑，唐朝的三彩鉛釉器皿和人物，明朝的以泥釉凸紋展現(xiàn)輪廓的三彩寺廟裝飾物以及很多用來(lái)仿制貴重器皿的陪葬瓷器。

【4】西方國(guó)家和繁榮穩(wěn)定的歷代中國(guó)朝代之間的貿(mào)易促使雙方互相引入了新的形式和不同的技術(shù)。有一個(gè)意義最為深遠(yuǎn)的例子，公元9世紀(jì)精美中國(guó)瓷器出口到阿拉伯世界，帶來(lái)巨大的影響。阿拉伯人對(duì)這些瓷器贊不絕口，于是他們鼓勵(lì)制陶來(lái)仿制瓷器，并激勵(lì)人們研究制作方法。中國(guó)人從中東獲得了一種藍(lán)色顏料——一種純化的氧化鈷，當(dāng)時(shí)在中國(guó)并未出現(xiàn)，其中只含有少量的錳。中國(guó)境內(nèi)發(fā)現(xiàn)的鈷礦石含有大量的會(huì)產(chǎn)生暗藍(lán)灰色的錳元素。17世紀(jì)，大量中國(guó)裝飾類(lèi)瓷器通過(guò)荷蘭東印度公司的交易活動(dòng)流入歐洲，這刺激和影響了廣泛多樣的瓷器的生產(chǎn)，特別是代爾夫特 。中國(guó)人自己改良了很多種來(lái)自西方的特殊器皿，比如長(zhǎng)嘴的瓶子，并專(zhuān)門(mén)為歐洲市場(chǎng)設(shè)計(jì)了一系列裝飾性圖案。

【5】就像希臘的陶器上所繪的圖案，今天看來(lái)也許純粹是為了裝飾，然而事實(shí)上在當(dāng)時(shí)它們都是人們精心燒制而成的，它們的意義在當(dāng)時(shí)非常明確，中國(guó)的瓷器也是如此。以20世紀(jì)的眼光來(lái)看，中國(guó)制造的陶瓷也許僅僅是裝飾品，但是對(duì)于中國(guó)人來(lái)說(shuō)每個(gè)物件的形狀及它的裝飾都有寓意非凡，影響深遠(yuǎn)。龍代表皇帝，鳳代表皇后;石榴意味著多子，雙魚(yú)意味著幸福;鴛鴦寓意著婚姻幸福美滿(mǎn);松樹(shù)、桃樹(shù)以及鶴都是長(zhǎng)壽的象征;魚(yú)躍出水面意味著科舉考試會(huì)高中。但是歐洲的裝飾主題被引進(jìn)后，這些寓意就變得不再那么流行甚至丟失了。

【6】陶瓷器皿在很早期就已用于宗教和日常生活中。朝廷分派了制作工作，并于元朝(公元1279-1368年)在景德鎮(zhèn)設(shè)立了一座官窯。陶瓷器皿在一些宗教儀式上也有著重要的地位。現(xiàn)存的關(guān)于不同類(lèi)型的陶瓷器具很多長(zhǎng)篇且抒情的描述可以幫助我們對(duì)其進(jìn)行分類(lèi)，盡管這些描述有時(shí)候會(huì)使得一幅大而復(fù)雜的畫(huà)面顯得凌亂。

托福閱讀TPO10(試題+答案+譯文)第1篇:Chinese Pottery相關(guān)文章：