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Although we now tend to refer to the various crafts according to the materials used toconstruct them-clay, glass, wood, fiber, and metal-it was once common to think of crafts interms of function, which led to their being known as the "applied arts." Approaching craftsfrom 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 supportsmust be functional. The applied arts are thus bound by the laws of physics, which pertain toboth 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 culturalbeliefs, geography, or climate. If a pot has no bottom or has large openings in its sides, it couldhardly be considered a container in any traditional sense. Since the laws of physics, not somearbitrary decision, have determined the general form of applied-art objects, they follow basicpatterns, so much so that functional forms can vary only within certain limits. Buildingswithout roofs, for example, are unusual because they depart from the norm. However, not allfunctional objects are exactly alike; that is why we recognize a Shang Dynasty vase as beingdifferent from an Inca vase. What varies is not the basic form but the incidental details that donot obstruct the object's primary function.
Sensitivity to physical laws is thus an important consideration for the maker of applied-artobjects. It is often taken for granted that this is also true for the maker of fine-art objects. Thisassumption misses a significant difference between the two disciplines. Fine-art objects are notconstrained by the laws of physics in the same way that applied-art objects are. Because theirprimary purpose is not functional, they are only limited in terms of the materials used tomake them. Sculptures must, for example, be stable, which requires an understanding of theproperties of mass, weight distribution, and stress. Paintings must have rigid stretchers sothat the canvas will be taut, and the paint must not deteriorate, crack, or discolor. These areproblems that must be overcome by the artist because they tend to intrude upon his or herconception of the work. For example, in the early Italian Renaissance, bronze statues ofhorses with a raised foreleg usually had a cannonball under that hoof. This was done becausethe cannonball was needed to support the weight of the leg. In other words, the demands ofthe laws of physics, not the sculptor's aesthetic intentions, placed the ball there. That thisdevice was a necessary structural compromise is clear from the fact that the cannonballquickly disappeared when sculptors learned how to strengthen the internal structure of astatue 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 basicdifference in attitude of artists in relation to their materials in the fine arts and the applied artsremains relatively constant. It would therefore not be too great an exaggeration to say thatpractitioners of the fine arts work to overcome the limitations of their materials, whereas thoseengaged 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 materialsused to construct them-clay, glass, wood, fiber, and metal-it was once common to think ofcrafts in terms of function, which led to their being known as the "applied arts." Approachingcrafts 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 supportsmust be functional. The applied arts are thus bound by the laws of physics, which pertain toboth 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 culturalbeliefs, geography, or climate. If a pot has no bottom or has large openings in its sides, it couldhardly be considered a container in any traditional sense. Since the laws of physics, not somearbitrary decision, have determined the general form of applied-art objects, they follow basicpatterns, so much so that functional forms can vary only within certain limits. Buildingswithout roofs, for example, are unusual because they depart from the norm. However, not allfunctional objects are exactly alike; that is why we recognize a Shang Dynasty vase as beingdifferent from an Inca vase. What varies is not the basic form but the incidental details that donot 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 essentialinformation.
○Functional applied-art objects cannot vary much from the basic patterns determined by thelaws 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 decisionscannot have determined their general form.
○The general form of applied-art objects is limited by some arbitrary decision that is notdetermined by the laws of physics.
Paragraph 2: Sensitivity to physical laws is thus an important consideration for the maker ofapplied-art objects. It is often taken for granted that this is also true for the maker of fine-artobjects. This assumption misses a significant difference between the two disciplines. Fine-artobjects are not constrained by the laws of physics in the same way that applied-art objectsare. Because their primary purpose is not functional, they are only limited in terms of thematerials used to make them. Sculptures must, for example, be stable, which requires anunderstanding of the properties of mass, weight distribution, and stress. Paintings must haverigid stretchers so that the canvas will be taut, and the paint must not deteriorate, crack, ordiscolor. These are problems that must be overcome by the artist because they tend tointrude 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. Thiswas 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 ballthere. That this device was a necessary structural compromise is clear from the fact that thecannonball quickly disappeared when sculptors learned how to strengthen the internalstructure 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 inbronze 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 earlyItalian Renaissance?
○To provide an example of a problem related to the laws of physics that a fine artist mustovercome
○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 thelaws 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. Completethe summary by selecting the THREE answer choices that express the most important ideas inthe passage. Some sentences do not belong in the summary because they express ideas thatare not presented in the passage or are minor ideas in the passage. This question is worth 2points.
This passage discusses fundamental differences between applied-art objects and fine-artobjects.
Answer Choices
○Applied-art objects fulfill functions, such as containing or sheltering, and objects with thesame function have similar characteristics because they are constrained by their purpose.
○It is easy to recognize that Shang Dynasty vases are different from Inca vases.
○Fine-art objects are not functional, so they are limited only by the properties of thematerials used.
○Renaissance sculptors learned to use iron braces to strengthen the internal structures ofbronze statues.
○In the twentieth century, fine artists and applied artists became more similar to one another intheir attitudes toward their materials.
○In all periods, fine artists tend to challenge the physical limitations of their materials whileapplied artists tend to cooperate with the physical properties of their materials.
8. Directions: Complete the table below to summarize information about the two types of artdiscussed in the passage. Match the appropriate statements to the types of art with whichthey are associated. This question is worth 3 points.
TYPES OF ART STATEMENTS
Statements
○An object's purpose is primarily aesthetic.
○Objects serve a functional purpose.
○The incidental details of objects do not vary.
○Artists work to overcome the limitations of their materials.
○The basic form of objects varies little across cultures.
○Artists work in concert with their materials.
○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 onView Text.
3. ○1
4. ○1
5. ○2
6. ○1
7. ○ 1 3 6
8. ○ 2 5 6 1 4
參考譯文
在現代，人們將根據工藝品的製造材質對他們進行分類，如陶土，玻璃，木頭，纖維還有金屬。但最初人們根據工藝品的功能將他們通通定義爲“實用工藝品”。根據工藝品的實用性，我們可以把手工藝品簡單分爲：容器，遮蔽物，支撐物。毫無疑問它們都是具有一定功能的物品。這些實用工藝品以自然規律爲基礎，它們的製作材料及其容納、支撐、遮蓋的內容需要符合這些規律。這些規律在工藝品應用過程中非常普遍，不會因文化信仰、地理條件和氣候的改變而改變。如果一個壺沒有底座，或者在一側有一個大開口，那麼它在任何傳統意義上都很難被視爲是一個容器。自然規律決定了實用工藝品的一般形式，而不是武斷的結論決定的`，它們遵循基本的樣式，以至於它們的功能不會變化太大。舉個例子，沒有屋頂的建築是很少見的，因爲它違反了自然規律。但是，並不是所有的功能物品都一模一樣，比如我們知道的爲什麼商代花瓶和印加花瓶不同。它們的區別不是基本功能的不同，而是那些不影響其基本功能的細節存在區別。
實用工藝品的生產者會着重考慮這件工藝品對自然規律的敏感性。所以人們認爲對純工藝品的生產來說也是一樣。但這種推斷忽略了兩種工藝品之間重要的區別。純工藝品不像實用工藝品那樣會受到自然規律的限制。因爲它們最主要的並不是體現其功能性，其實它們僅受限於製作材料的性質。比方說雕塑必須要牢固，這就需要了解質量，重力分佈和壓力的性質。油畫必須有堅固的支架，才能讓畫布保持繃緊，並且油畫不可以有毀損，裂紋，褪色。類似困難都是藝術家們必須克服的，這些困擾往往影響了藝術家對於工藝品的設計。就好像在意大利文藝復興早期，踢出前腿馬匹的青銅像往往有一個金屬球置於它的前蹄下。這樣設計是因爲需要金屬球來支撐腿的重量。換而言之，擺在那裏的金屬球是客觀條件的需要，而不是藝術家的美學意願。當雕塑家學會如何了用鐵支架加強雕塑的內部結構後(鐵比青銅更結實)，就不再使用金屬球了，由此看來，鐵球的使用是對於必要結構性的妥協。
儘管在20世紀純工藝品的製作通常採用新的製造工藝，人們對兩種工藝品的基本態度仍然保持對立。因此，毫不誇張地說，純藝術工藝品的生產者需要克服原材料的限制進行生產，而從事實用性工藝品的生產者則依據材料的性質來進行生產。
