『新东方在线托福阅读』为托福考生准备了ETS托福TPO/Official 10 Passage 1阅读练习：Which of the following is mentioned in paragraph 5 as being symbolically represented on Chinese ceramics?真题题目及答案解析，TPO/Official 10 Passage 1阅读原文范文音频翻译

托福TPO/Official 10 Passage 1阅读原文Which of the following is mentioned in paragraph 5 as being symbolically represented on Chinese ceramics?题目答案及解析-新东方托福官方网校手机版

尽管会遭受入侵和偶尔的外国势力控制，中国依然拥有世界上最古老且源远流长的文明。

China has one of the world’s oldest continuous civilizations—despite invasions and occasional foreign rule.

像中国这样拥有悠久文明的大国，都会有很复杂的社会历史和视觉历史，而陶瓷则在其中扮演了很重要的角色。

A country as vast as China with so long-lasting a civilization has a complex social and visual history, within which pottery and porcelain play a major role.

陶瓷在中国的功能和地位会随着朝代的变化而变化，陶瓷可能会被用来日常使用、埋葬、交易、收藏，甚至是用于一些仪式，这些都取决于他们的质量和他们被生产的年代。

The function and status of ceramics in China varied from dynasty to dynasty, so they may be utilitarian, burial, trade, collectors’, or even ritual objects, according to their quality and the era in which they were made.

对于容器、像瓦片一样的建筑材料、物体模型或人物模型来说，广义上陶瓷被分为3大类：陶器、炻器和瓷器。

The ceramics fall into three broad types—earthenware, stoneware, and porcelain—for vessels, architectural items such as roof tiles, and modeled objects and figures.

除此之外，很多的雕塑是用于宗教使用的，它们中的大多数都是陶制的。

In addition, there was an important group of sculptures made for religious use, the majority of which were produced in earthenware.

最早的陶瓷会被加热到陶器的温度，但是早在公元前15世纪，人们制造出来了上釉的高温烧制的炻器。

The earliest ceramics were fired to earthenware temperatures, but as early as the fifteenth century B.C., high-temperature stonewares were being made with glazed surfaces.

在六朝时期（公元265到589年），中国北部的窑厂就制造出来了质量很好的高温烧制的陶瓷。

During the Six Dynasties period (A.D.265–589), kilns in north China were producing high-fired ceramics of good quality.

7世纪到10世纪河北省河南省生产的白瓷慢慢进化成了宋代（960到1279年）生产的饱受赞誉的宋瓷，这一直被认为是中国陶瓷史上的巅峰之一。

Whitewares produced in Hebei and Henan provinces from the seventh to the tenth centuries evolved into the highly prized porcelains of the Song dynasty (A.D.960–1279), long regarded as one of the high points in the history of China’s ceramic industry.

宗教雕塑的传统在大部分历史时期中延续的时间最长，但是它却没有炻器和瓷器质地的雕塑那么清晰的勾勒，因为它有较古老的带有宗教形象和建筑装饰的陶器作为陪葬品的传统。

The tradition of religious sculpture extends over most historical periods but is less clearly delineated than that of stonewares or porcelains, for it embraces the old custom of earthenware burial ceramics with later religious images and architectural ornament.

瓷器也包括汉代的铅釉随葬陶俑，唐朝的三彩铅釉器皿和人物模型，明朝的以泥釉凸纹展现轮廓的三彩寺庙装饰物，和很多用来仿制有贵重价值的器皿的陪葬瓷器。

Ceramic products also include lead-glazed tomb models of the Han dynasty, three-color lead-glazed vessels and figures of the Tang dynasty, and Ming three-color temple ornaments, in which the motifs were outlined in a raised trail of slip, as well as the many burial ceramics produced in imitation of vessels made in materials of higher intrinsic value.

西方和稳定繁荣发展的中国各朝代之间的贸易使其引入了新的形式和不同的技术。

Trade between the West and the settled and prosperous Chinese dynasties introduced new forms and different technologies.

其中一个意义最为深远的例子就是公元九世纪的影响。

One of the most far-reaching examples is the impact of the fine ninth-century A.D.

中国的瓷器出口到了阿拉伯世界。

Chinese porcelain wares imported into the Arab world.

这些工艺品如此受到喜爱，以致于这促进了仿制陶器的发展，以及对于这项制造方法的进行的研究。

So admired were these pieces that they encouraged the development of earthenware made in imitation of porcelain and instigated research into the method of their manufacture.

中国从中东获得了一种蓝色颜料——一种在当时的中国很难获得的纯化氧化钴——这种颜料中的锰含量极低。

From the Middle East the Chinese acquired a blue pigment—a purified form of cobalt oxide unobtainable at that time in China—that contained only a low level of manganese.

在中国发现的钴矿石有很高含量的锰元素，它会产生出来一种暗蓝灰色。

Cobalt ores found in China have a high manganese content, which produces a more muted blue-gray color.

在十七世纪，荷兰东印度公司的贸易活动使得大量的装饰类中国瓷器进入欧洲，这促进并且影响了多种多样的瓷器的生产，尤其是代尔夫特。

In the seventeenth century, the trading activities of the Dutch East India Company resulted in vast quantities of decorated Chinese porcelain being brought to Europe, which stimulated and influenced the work of a wide variety of wares, notably Delft.

中国人本身也从西方学习改进了很多特定的容器的形式，比如瓶子有了高的瓶嘴，以及设计出了尤其是对应欧洲市场的很多装饰的图案。

The Chinese themselves adapted many specific vessel forms from the West, such as bottles with long spouts, and designed a range of decorative patterns especially for the European market.

正如希腊的陶器上面的图案设计现在看来可能纯粹是装饰性的，然而实际上在那个时候他们是精心精准烧制的，它们的意义也是十分清晰的，中国的陶瓷也是如此。

Just as painted designs on Greek pots may seem today to be purely decorative, whereas in fact they were carefully and precisely worked out so that at the time, their meaning was clear, so it is with Chinese pots.

以二十世纪的眼光来看，中国陶瓷可能仅仅是装饰性的，但是对于中国人来说，每件物品的形式和装饰都有自己的意义和重要性。

To twentieth-century eyes, Chinese pottery may appear merely decorative, yet to the Chinese the form of each object and its adornment had meaning and significance.

龙代表皇帝，凤代表皇后；石榴寓意着多子，双鱼寓意着幸福；鸳鸯意味着婚姻幸福美满；松树、桃树以及鹤都是长寿的象征；鱼跃出水面意味着科举考试的成功。

The dragon represented the emperor, and the phoenix, the empress; the pomegranate indicated fertility, and a pair of fish, happiness; mandarin ducks stood for wedded bliss; the pine tree, peach, and crane are emblems of long life; and fish leaping from waves indicated success in the civil service examinations.

只有当欧洲的装饰性的主题被引入的时候，这些意义才变得模糊甚至是消失了。

Only when European decorative themes were introduced did these meanings become obscured or even lost.

从很早开始，陶瓷就被用于宗教和日常生活。

From early times pots were used in both religious and secular contexts.

朝廷分派了任务，并且在元朝（公元1279-1368年）景德镇成立了一座官窑。

The imperial court commissioned work and in the Yuan dynasty (A.D.1279–1368) an imperial ceramic factory was established at Jingdezhen.

在一些宗教仪式中陶瓷扮演了很重要的角色。

Pots played an important part in some religious ceremonies.

关于不同种类陶瓷的长篇且抒情的描述可以帮助对其分类，尽管这些描述有时会使得一幅已经大而复杂的画面显得混乱。

Long and often lyrical descriptions of the different types of ware exist that assist in classifying pots, although these sometimes confuse an already large and complicated picture.

The word “status” in the passage is closest in meaning to

According to paragraph 2, which of the following is true of Chinese ceramics?

Which of the sentences below best expresses the essential information in the highlighted sentence in the passage? Incorrect choices change the meaning in important ways or leave out essential information.

Paragraph 3 supports all of the following concerning the history of the ceramic industry in China EXCEPT:

According to paragraph 4, one consequence of the trade of Chinese ceramics was

In paragraph 5, the author compares the designs on Chinese pots to those on Greek pots in order to

Which of the following is mentioned in paragraph 5 as being symbolically represented on Chinese ceramics?

Paragraph 5 suggests which of the following about the decorations on Chinese pottery?

Look at the four squares  that indicate where the following sentence could be added to the passage. Foreign trade was also responsible for certain innovations in coloring.  Where would the sentence best fit? Click on a square  to add the sentence to the passage.

Directions: 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.

Chinese Pottery China has one of the world’s oldest continuous civilizations—despite invasions and occasional foreign rule. A country as vast as China with so long-lasting a civilization has a complex social and visual history, within which pottery and porcelain play a major role. The function and status of ceramics in China varied from dynasty to dynasty, so they may be utilitarian, burial, trade, collectors’, or even ritual objects, according to their quality and the era in which they were made. The ceramics fall into three broad types—earthenware, stoneware, and porcelain—for vessels, architectural items such as roof tiles, and modeled objects and figures. In addition, there was an important group of sculptures made for religious use, the majority of which were produced in earthenware. The earliest ceramics were fired to earthenware temperatures, but as early as the fifteenth century B.C., high-temperature stonewares were being made with glazed surfaces. During the Six Dynasties period (A.D. 265–589), kilns in north China were producing high-fired ceramics of good quality. Whitewares produced in Hebei and Henan provinces from the seventh to the tenth centuries evolved into the highly prized porcelains of the Song dynasty (A.D. 960–1279), long regarded as one of the high points in the history of China’s ceramic industry. The tradition of religious sculpture extends over most historical periods but is less clearly delineated than that of stonewares or porcelains, for it embraces the old custom of earthenware burial ceramics with later religious images and architectural ornament. Ceramic products also include lead-glazed tomb models of the Han dynasty, three-color lead-glazed vessels and figures of the Tang dynasty, and Ming three-color temple ornaments, in which the motifs were outlined in a raised trail of slip, as well as the many burial ceramics produced in imitation of vessels made in materials of higher intrinsic value. Trade between the West and the settled and prosperous Chinese dynasties introduced new forms and different technologies. One of the most far-reaching examples is the impact of the fine ninth-century A.D. Chinese porcelain wares imported into the Arab world.  So admired were these pieces that they encouraged the development of earthenware made in imitation of porcelain and instigated research into the method of their manufacture.  From the Middle East the Chinese acquired a blue pigment—a purified form of cobalt oxide unobtainable at that time in China—that contained only a low level of manganese. Cobalt ores found in China have a high manganese content, which produces a more muted blue-gray color.  In the seventeenth century, the trading activities of the Dutch East India Company resulted in vast quantities of decorated Chinese porcelain being brought to Europe, which stimulated and influenced the work of a wide variety of wares, notably Delft.  The Chinese themselves adapted many specific vessel forms from the West, such as bottles with long spouts, and designed a range of decorative patterns especially for the European market. Just as painted designs on Greek pots may seem today to be purely decorative, whereas in fact they were carefully and precisely worked out so that at the time, their meaning was clear, so it is with Chinese pots. To twentieth-century eyes, Chinese pottery may appear merely decorative, yet to the Chinese the form of each object and its adornment had meaning and significance. The dragon represented the emperor, and the phoenix, the empress; the pomegranate indicated fertility, and a pair of fish, happiness; mandarin ducks stood for wedded bliss; the pine tree, peach, and crane are emblems of long life; and fish leaping from waves indicated success in the civil service examinations. Only when European decorative themes were introduced did these meanings become obscured or even lost. From early times pots were used in both religious and secular contexts. The imperial court commissioned work and in the Yuan dynasty (A.D. 1279–1368) an imperial ceramic factory was established at Jingdezhen. Pots played an important part in some religious ceremonies. Long and often lyrical descriptions of the different types of ware exist that assist in classifying pots, although these sometimes confuse an already large and complicated picture.