【正文】 hind legs were used for propulsion in the water.因此，毫不夸張地說，純藝術(shù)工藝品的生產(chǎn)者需要克服原材料的限制進(jìn)行生產(chǎn)，而從事實(shí)用性工藝品的生產(chǎn)者則依據(jù)材料的性質(zhì)來進(jìn)行生產(chǎn)。當(dāng)?shù)袼芗覍W(xué)會(huì)如何了用鐵支架加強(qiáng)雕塑的內(nèi)部結(jié)構(gòu)后（鐵比青銅更結(jié)實(shí)），就不再使用金屬球了，由此看來，鐵球的使用是對(duì)于必要結(jié)構(gòu)性的妥協(xié)。這樣設(shè)計(jì)是因?yàn)樾枰饘偾騺碇瓮鹊闹亓?。類似困難都是藝術(shù)家們必須克服的，這些困擾往往影響了藝術(shù)家對(duì)于工藝品的設(shè)計(jì)。比方說雕塑必須要牢固，這就需要了解質(zhì)量，重力分布和壓力的性質(zhì)。純工藝品不像實(shí)用工藝品那樣會(huì)受到自然規(guī)律的限制。所以人們認(rèn)為對(duì)純工藝品的生產(chǎn)來說也是一樣。它們的區(qū)別不是基本功能的不同，而是那些不影響其基本功能的細(xì)節(jié)存在區(qū)別。舉個(gè)例子，沒有屋頂?shù)慕ㄖ呛苌僖姷?，因?yàn)樗`反了自然規(guī)律。如果一個(gè)壺沒有底座，或者在一側(cè)有一個(gè)大開口，那么它在任何傳統(tǒng)意義上都很難被視為是一個(gè)容器。這些實(shí)用工藝品以自然規(guī)律為基礎(chǔ)，它們的制作材料及其容納、支撐、遮蓋的內(nèi)容需要符合這些規(guī)律。根據(jù)工藝品的實(shí)用性，我們可以把手工藝品簡(jiǎn)單分為：容器，遮蔽物，支撐物。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. ○14. ○15. ○26. ○17. ○ 1 3 68. ○ 2 5 6 1 4參考譯文在現(xiàn)代，人們將根據(jù)工藝品的制造材質(zhì)對(duì)他們進(jìn)行分類，如陶土，玻璃，木頭，纖維還有金屬。s aesthetic intentions, placed the ball there. That this device was a necessary structural promise 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 overe ○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 appliedart objects and fineart objects. ● ● ● Answer Choices ○Appliedart objects fulfill functions, such as containing or sheltering, and objects with the same 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.○Fineart objects are not functional, so they are limited only by the properties of the materials used.○Renaissance sculptors learned to use iron braces to strengthen the internal structures of bronze statues.○In the twentieth century, fine artists and applied artists became more similar to one another in their attitudes toward their materials.○In all periods, fine artists tend to challenge the physical limitations of their materials while applied 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 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 STATEMENTSThe Applied Arts Select 3 ● ● ● The Fine Arts Select 2 ● ● Statements ○An object39。 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 object39。s primary function. Sensitivity to physical laws is thus an important consideration for the maker of appliedart objects. It is often taken for granted that this is also true for the maker of fineart objects. This assumption misses a significant difference between the two disciplines. Fineart objects are not constrained by the laws of physics in the same way that appliedart 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 overe 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 sculptor39。ve, immature and awkward, even littered with those “glorious noble” GRE words (Actually, these words made their personal statement even freak!). And they asked, “Wenyong, my brother, how you forged your impressive writing skills?” I said, “Read! Read! And read again! The more you read, the better you write.” “Are these iBT passages really so amazing?” I affected a tone of a edian, “try them!”How good can these passages be? “They are golden, they are precious, they are diamonds!” YoursWenyong目錄 ARTS AND FINE ARTS(OG) 5 ORIGINS OF CETACEANS(OG) 11 FORMATION(OG) 19 CINEMA(OG) 28(OG) 37 AND INDUSTRIALIZATION(OG) 47 MACHINES(OG) 56 POLITICS IN THE UNITED STATES(OG) 65 EXPRESSION OF EMOTIONS(OG) 74 AND LANDSCAPE(OG) 83(TPO1) 92 ORIGINS OF THEATER(TPO1) 99 VEGETATION ON MOUNTAINS(TPO1) 106(TPO3) 113 of the Ogallala Aquifer(TPO3) 120 LongTerm Stability of Ecosystems(TPO3) 128 and Competitors(在線測(cè)試題) 135 Cave Paintings(在線測(cè)試題) 142