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Part III Reading Comprehension (40% )
Section A (30%)
Passage 5
Likenesses of Buddha are these days SO commonplace — the casual adornment of fashionable spas, fusion restaurants and Parisian nightclubs — that it is strange to think that artists once hesitated, out of reverence, to portray the Buddha in corporeal form. In 2nd century India, judging by a 2nd century sandstone carving excavated from Mathura, it was sufficient to simply depict an empty throne — the implication that the Buddha was a spiritual king being very clearly understood by anyone who saw it. But as the stunning new gallery of Buddhist sculpture at London’s Victoria and Albert Museum makes Plain, somewhere along the line the reticence (沉默)about rendering the Buddha’s likeness gave way, and the world embarked on two millenniums of rich iconography and statuary. The gallery’s 47 masterworks, chosen from the museum’s renowned Asian collections, trace the Buddha’s portrayal from the 2nd to the 19th centuries, in places as diverse as India, Java and Japan.Inspiration came from unexpected sources. Some sculptors in Sri Lanka and China simply shaped the Buddha in their own likenesses. A 4th century stucco bust unearthed in Afghanistan features the full lips associated with Indian Gupta art, but also fulsome curls that reflect the Greco-Roman artists brought to the region by Alexander the Great.
Other enlightened souls are shown beside the Buddha. Among the gallery’s most glorious artifacts are depictions of bodhisattvas — those who deliberately postpone their passage to nirvana (涅槃)，Buddhists believe, in order to help others along the eightfold path. In the 14th century, metalworkers from Nepal’s Kathmandu Valley crafted the Bodhisattva Avalokiteshvara, manifestation of the Buddhist lord of compassion, in gilded copper and precious-stone inlay. An androg Y nous -looking deity with wide hips and sensuous form (in Chinese tradition, Avalokiteshvara or Guan Yin is female, in others male) , Avalokiteshvara serene face projects the harmony to which all Buddhists aspire. John Clarke, the gallery’s principal curator, says that Avalokiteshvara is sometimes depicted holding a blooming lotus — a symbol of spiritual purity. “It comes up from the mud, flowers, and remains untouched by the dirt that surrounded it，” he says. You could say the same thing for the wonderful richness of Buddhist art.
60.Spas, restaurants and nightclubs are stated to show that.
A.images of Buddha are often seen in those places
B.those places are frequented by many Buddhist artists
C.those places are filled with flavor of Buddhist culture
D.Buddhist worshippers regularly go to those places
61.The 2nd century Indian case mentioned denotes that artists at that time considered it disrespectful to.
A. depict the figure of BuddhaB. reflect things about Buddhism
C. paint Buddha in a vague formD. distort Buddhist spirituality
62.The new gallery at London’s Victoria & Albert Museum indicates that.
A.Buddha’s portrayal came to a surge in the year of 2000
B.some Buddha sculptures have a history of about 2,000 years
C.the image of the Buddha has been distorted for 2,000 years
D.the silence on portraying Buddha was broken in 2000
63.The gallery’s sculptures of Buddha reflect.
A.the sculptors’ secular views about Buddhism
B.the sculptors’ imitation of an alien culture
C.something about the sculptors, own cultures
D.something associated with modem art
64.To Buddhists, Avalokiteshvara is a deity that can help one.
A. against arroganceB. control his temper
C. out of greedinessD. out of sufferings
65.The last sentence of the passage implies that Buddhist art.
A.emerges from other art forms but retains its own features
B.needs to be further explored in its complex structures
C.keeps its dominant position over any other form of art
D.remains a symbol of spiritual purity in the world of artists