Arts and Fine Arts

Although we now tend to refer to the various craftsaccording to the materials used to construct them—clay, glass, wood, fiber, andmetal—it was once common to think of crafts in terms of function, which led totheir being known as the "applied arts." Approaching crafts from thepoint of view of function, we can divide them into simple categories:containers, shelters and supports. There is no way around the fact thatcontainers, shelters, and supports must be functional. The applied arts are thusbound by the laws of physics, which pertain to both the materials used in theirmaking 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 itssides, it could hardly be considered a container in any traditional sense.Since the laws of physics, not some arbitrary decision, have determined thegeneral form of applied-art objects, they follow basic patterns, so much sothat functional forms can vary only within certain limits. Buildings withoutroofs, for example, are unusual because they depart from the norm. However, notall functional objects are exactly alike; that is why we recognize a ShangDynasty vase as being different from an Inca vase. What varies is not the basicform but the incidental details that do not obstruct the object's primaryfunction.

Sensitivity to physical laws is thus an importantconsideration for the maker of applied-art objects. It is often taken forgranted 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 not constrained by the laws of physics in the same waythat applied-art objects are. Because their primary purpose is not functional,they are only limited in terms of the materials used to make them. Sculpturesmust, for example, be stable, which requires an understanding of the propertiesof mass, weight distribution, and stress. Paintings must have rigid stretchersso 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 theytend to intrude upon his or her conception of the work. For example, in theearly Italian Renaissance, bronze statues of horses with a raised forelegusually had a cannonball under that hoof. This was done because the cannonballwas needed to support the weight of the leg. In other words, the demands of thelaws of physics, not the sculptor's aesthetic intentions, placed the ballthere. That this device was a necessary structural compromise is clear from thefact that the cannonball quickly disappeared when sculptors learned how tostrengthen the internal structure of a statue with iron braces (iron being muchstronger than bronze).

Even though the fine arts in the twentieth century oftentreat materials in new ways, the basic difference in attitude of artists inrelation to their materials in the fine arts and the applied arts remainsrelatively constant. It would therefore not be too great an exaggeration to saythat practitioners of the fine arts work to overcome the limitations of theirmaterials, whereas those engaged in the applied arts work in concert with theirmaterials.

【Paragraph 1】Although we nowtend to refer to the various crafts according to the materials used toconstruct them—clay, glass, wood, fiber, and metal—it was once common to thinkof crafts in terms of function, which led to their being known as the"applied arts." Approaching crafts from the point of view offunction, we can divide them into simple categories: containers, shelters andsupports. There is no way around the fact that containers, shelters, andsupports must be functional. The applied arts are thus bound by the laws ofphysics, which pertain to both the materials used in their making and thesubstances and things to be contained, supported, and sheltered. These laws areuniversal in their application, regardless of cultural beliefs, geography, orclimate. 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 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.Buildingswithout roofs, for example, are unusual because they depart from the norm.However, not all functional objects are exactly alike; that is why we recognizea Shang Dynasty vase as being different from an Inca vase. What varies is notthe basic form but the incidental details that do not obstruct the object'sprimary function.

1. The word “they”in the passage refers to

○applied-art objects

○the laws of physics

○containers

○the sides of pots

2. Which of the following best expresses the essentialinformation in the highlighted sentence?Incorrect answer choices change the meaning in important ways or leave outessential information.

○Functional applied-art objects cannot vary much from thebasic patterns determined by the laws of physics.

○The function of applied-art objects is determined bybasic patterns in the laws of physics.

○Since functional applied-art objects vary only withincertain limits, arbitrary decisions cannot have determined their general form.

○The general form of applied-art objects is limited bysome arbitrary decision that is not determined by the laws of physics.

【Paragraph 2】Sensitivity tophysical 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 offine-art objects. This assumption misses a significant difference between thetwo disciplines. Fine-art objects are not constrained by the laws of physics inthe same way that applied-art objects are. Because their primary purpose is notfunctional, they are only limited in terms of the materials used to make them.Sculptures must, for example, be stable, which requires an understanding of theproperties of mass, weight distribution, and stress. Paintings must have rigidstretchers 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 artistbecause they tend to intrude upon his or her conception of the work. Forexample, in the early Italian Renaissance,bronze statues of horses with a raised foreleg usually had a cannonballunder that hoof. This was done because the cannonball was needed to support theweight 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 anecessary structural compromise is clear from the fact that the cannonballquickly disappeared when sculptors learned how to strengthen the internalstructure of a statue with iron braces (iron being much stronger than bronze).

3. According toparagraph 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

4. Why does the author discuss the bronze statues ofhorses created by artists in the early Italian Renaissance?

○To provide an example of a problem related to the lawsof physics that a fine artist must overcome

○To argue that fine artists are unconcerned with the lawsof physics

○To contrast the relative sophistication of modernartists in solving problems related to the laws of physics

○To note an exceptional piece of art constructed withoutthe aid of technology

5. An introductory sentence for a brief summary of thepassage is provided below. Complete the summary by selecting the THREE answerchoices that express the most important ideas in the passage. Some sentences donot belong in the summary because they express ideas that are not presented inthe passage or are minor ideas in the passage.This question is worth 2 points.

This passage discusses fundamental differences betweenapplied-art objects and fine-art objects.

Answer Choices

○Applied-art objects fulfill functions, such ascontaining or sheltering, and objects with the same function have similarcharacteristics because they are constrained by their purpose.

○It is easy to recognize that Shang Dynasty vases aredifferent from Inca vases.

○Fine-art objects are not functional, so they are limitedonly by the properties of the materials used.

○Renaissance sculptors learned to use iron braces tostrengthen the internal structures of bronze statues.

○In the twentieth century, fine artists and appliedartists became more similar to one another in their attitudes toward theirmaterials.

○In all periods, fine artists tend to challenge thephysical limitations of their materials while applied artists tend to cooperatewith the physical properties of their materials.

6.【Directions】Complete the table below to summarize information about the twotypes of art discussed in the passage. Match the appropriate statements to thetypes of art with which they are associated.This question is worth 3 points.

TYPES OF ART STATEMENTS

The Applied Arts

The Fine Arts

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 theirmaterials.

○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.

参考答案：

1. ○1

This is an example of a simple pronoun-referent item. Thehighlighted word they refers to the phrase “applied-art objects,”whichimmediately precedes it, so choice 1 is the correct answer. Often thegrammatical referent for a pronoun will be separated from the pronoun. It maybe located in a preceding clause or even in the preceding sentence.

2. ○1

It is important to note that the question says thatincorrect answers change the original meaning of the sentence or leave outessential information. In this example, choice 4 changes the meaning of thesentence to its opposite; it says that the form of functional objects isarbitrary, when the highlighted sentence says that the forms of functionalobjects are never arbitrary. Choice 2 also changes the meaning. It says thatthe functions of applied-art objects are determined by physical laws. The highlightedsentence says that the form of the object is determined by physical laws butthe function is determined by people. Choice 3 leaves out an important ideafrom the highlighted sentence. Like the highlighted sentence, it says that theform of functional objects is not arbitrary, but it does not say that it isphysical laws that determine basic form. Only choice 1 makes the same point asthe highlighted sentence and includes all the essential meaning.

3. ○2

The question tells you to look for the answer inparagraph 2. You do not need to skim the entire passage to find the relevantinformation. Choice 1 says that sculptors stopped putting cannonballs under theraised legs of horses in statues because they learned how make the statue weighless and not require support for the leg. The passage does not mention makingthe statues weigh less; it says that sculptors learned a better way to supportthe weight. Choice 3 says that the change occurred only because people’s tastechanged, meaning that the cannonballs were never structurally necessary. Thatdirectly contradicts the passage. Choice 4 says that the cannonballs weakenedthe structure of the statues. This choice also contradicts the passage. Choice2 correctly identifies the reason the passage gives for the change: sculptorsdeveloped a way to strengthen the statue from the inside, making thecannonballs physically unnecessary.

4. ○1

You should note that the sentence that first mentions“bronze statues of horses”begins “For example . . .”The author is giving anexample of something he has introduced earlier in the paragraph. The paragraphoverall contrasts how the constraints of physical laws affect the fine artsdifferently from applied arts or crafts. The fine artist is not concerned withmaking an object that is useful, so he or she is less constrained than theapplied artist. However, because even a fine-arts object is made of somematerial, the artist must take into account the physical properties of thematerial. In the passage, the author uses the example of the bronze statues ofhorses to discuss how artists had to include some support for the raisedforeleg of the horse because of the physical properties of the bronze. So thecorrect answer is choice 1.

5. ○1, 3, 6

Correct Choices

【Choice 1】Applied art objectsfulfill functions, such as containing or sheltering, and objects with the samefunction have similar characteristics because they are constrained by theirpurpose.

【Explanation】As the introductorysentence states, the passage is mainly a contrast of applied-art objects andfine-art objects. The main point of contrast is functionality: applied-artobjects are functional, whereas fine-art objects are not. The first part of thepassage explains the consequences of functionality for the materials and “basicforms”of applied-art objects. The second part of the passage explains theconsequences of not being functional to the materials and forms of fine-artobjects. A good summary of the passage must include the definition of“applied-art objects”and the major consequence (objects with the same functionwill follow similar patterns), so Choice 1 should be included.

【Choice 3】Fine-art objects arenot functional, so they are limited only by the properties of the materialsused.

【Explanation】Because the passagecontrasts applied art objects and fine-art objects, a good summary shouldinclude the basic difference. Including Choice 3 in the summary provides thebasic contrast discussed in the passage: applied art objects are functional;fine-art objects are not. Fine-art objects are not as constrained asapplied-art objects because they do not have to perform a function.

【Choice 6】In all periods, fineartists tend to challenge the physical limitations of their materials, whileapplied artists tend to cooperate with the physical properties of theirmaterials.

【Explanation】The last paragraphof the passage presents a further consequence of the basic contrast betweenapplied-art objects and fine-art objects. This is the difference between theattitude of fine artists toward their materials and the attitude of appliedartists toward their materials. A good summary will include this last contrast.

Incorrect Choices

【Choice2】It is easy to recognizethat Shang Dynasty vases are different from Inca vases.

【Explanation】Although thisstatement is true, it is not the main point of the first paragraph or of thepassage. In fact, it contrasts with the main point of the paragraph: objectsthat have the same function are all similar. The last sentence of the firstparagraph says that the Shang Dynasty vase and the Inca vase are different in“incidental details,”but the “basic form”is the same. Including Choice 2 in thesummary misrepresents the passage.

【Choice 4】Renaissance sculptorslearned to use iron braces to strengthen the internal structures of bronzestatues.

【Explanation】Choice 4 summarizesthe information in sentences 9, 10, and 11 of paragraph 2. Within the contextof the passage, this information helps you understand the meaning of thelimitations that materials can impose on fineartists. However, remember thatthe directions say to choose the statements that express the most importantideas in the passage. The example is less important than the general statementsof difference. If Choice 4 is included, then Choice 1 or 3 or 6 would be leftout and the summary would be missing an essential point of contrast betweenfine arts and applied arts.

【Choice 5】In the twentiethcentury, fine artists and applied artists became more similar to one another intheir attitudes toward their materials.

【Explanation】This choice shouldbe excluded because it is not supported by the passage. It is a misreading ofparagraph 3, which says that the difference in attitude between fine artistsand applied artists has not changed. Obviously, a choice that contradicts theinformation or argument in the passage should not be part of your summary.

6. ○2, 5, 6

○1, 4

Correct Choices

【Choice 1】An object’s purpose isprimarily aesthetic. (Fine Arts)

【Explanation】This is an exampleof a correct answer that requires you to identify an abstract concept based ontext information and paraphrases of text information. In paragraph 2, sentence5, the passage states that the primary purpose of Fine Art is not function.Then, in paragraph 2, sentence 11, thepassage mentions a situation in which asculptor had to sacrifice an aesthetic purpose due to the laws of physics.Putting these statements together, the reader can infer that fine artists, suchas sculptors, are primarily concerned with aesthetics.

【Choice 2】Objects serve afunctional purpose. (Applied Arts)

【Explanation】This is stated moredirectly than the previous correct answer. Paragraph 1, sentences 1, 2, and 3make it clear how important function is in the applied arts. At the same time,paragraph 2 states that Fine Arts are not concerned with function, so the onlycorrect place for this statement is in the Applied Arts category.

【Choice 4】Artists work toovercome the limitations of their materials. (Fine Arts)

【Explanation】This is stated explicitlyin the last paragraph of the passage. In that paragraph, it is made clear thatthis applies only to practitioners of the fine arts.

【Choice 5】The basic form ofobjects varies little across cultures. (Applied Arts)

【Explanation】In paragraph 1,sentence 5, the passage states that certain laws of physics are universal. Thenin sentence 7, that idea is further developed with the statement thatfunctional forms can vary only within limits. From these two sentences, you canconclude that because of the laws of physics and the need for functionality,the basic forms of applied art objects will vary little across cultures.

【Choice 6】Artists work in concertwith their materials. (Applied Arts)

【Explanation】This is statedexplicitly in the last paragraph of the passage. In that paragraph, it is madeclear that this applies only to practitioners of the applied arts.

Incorrect Choices

【Choice 3】The incidental detailsof objects do not vary.

【Explanation】This idea isexplicitly refuted by the last sentence of paragraph 1 in reference to theapplied arts. That sentence (referring only to applied arts) states that theincidental details of such objects do vary, so this answer cannot be placed inthe applied arts category. This subject is not discussed at all in reference tofine art objects, so it cannot be correctly placed in that category either.

【Choice 7】An object’s place of originis difficult to determine.

【Explanation】This answer choiceis implicitly refuted in reference to applied arts in the next to last sentenceof paragraph 1. That sentence notes that both Shang Dynasty and Inca vases areidentifiable as such based upon differences in detail. By inference, then, itseems that it is not difficult to determine an applied-art object’s place oforigin. Like the previous incorrect answer, this idea is not discussed at allin reference to fine art objects, so it cannot be correctly placed in thatcategory either.

参考译文：实用艺术和纯艺术

在现代，人们将根据工艺品的制造材质对他们进行分类，如陶土，玻璃，木头，纤维还有金属。但最初人们根据工艺品的功能将他们通通定义为“实用工艺品”。根据工艺品的实用性，我们可以把手工艺品简单分为：容器，遮蔽物，支撑物。毫无疑问它们都是具有一定功能的物品。这些实用工艺品以自然规律为基础，它们的制作材料及其容纳、支撑、遮盖的内容需要符合这些规律。这些规律在工艺品应用过程中非常普遍，不会因文化信仰、地理条件和气候的改变而改变。如果一个壶没有底座，或者在一侧有一个大开口，那么它在任何传统意义上都很难被视为是一个容器。自然规律决定了实用工艺品的一般形式，而不是武断的结论决定的，它们遵循基本的样式，以至于它们的功能不会变化太大。举个例子，没有屋顶的建筑是很少见的，因为它违反了自然规律。但是，并不是所有的功能物品都一模一样，比如我们知道的为什么商代花瓶和印加花瓶不同。它们的区别不是基本功能的不同，而是那些不影响其基本功能的细节存在区别。

实用工艺品的生产者会着重考虑这件工艺品对自然规律的敏感性。所以人们认为对纯工艺品的生产来说也是一样。但这种推断忽略了两种工艺品之间重要的区别。纯工艺品不像实用工艺品那样会受到自然规律的限制。因为它们最主要的并不是体现其功能性，其实它们仅受限于制作材料的性质。比方说雕塑必须要牢固，这就需要了解质量，重力分布和压力的性质。油画必须有坚固的支架，才能让画布保持绷紧，并且油画不可以有毁损，裂纹，褪色。类似困难都是艺术家们必须克服的，这些困扰往往影响了艺术家对于工艺品的设计。就好像在意大利文艺复兴早期，踢出前腿马匹的青铜像往往有一个金属球置于它的前蹄下。这样设计是因为需要金属球来支撑腿的重量。换而言之，摆在那里的金属球是客观条件的需要，而不是艺术家的美学意愿。当雕塑家学会如何了用铁支架加强雕塑的内部结构后（铁比青铜更结实），就不再使用金属球了，由此看来，铁球的使用是对于必要结构性的妥协。

尽管在20世纪纯工艺品的制作通常采用新的制造工艺，人们对两种工艺品的基本态度仍然保持对立。因此，毫不夸张地说，纯艺术工艺品的生产者需要克服原材料的限制进行生产，而从事实用性工艺品的生产者则依据材料的性质来进行生产。