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AP.PLIED ARTS AND .FINE ARTS.
Although we .now tend to refer to the various crafts according to the materials used to construct them-clay, glass, wood, fiber, and metal-it was onc.e common to think of crafts in terms .of function, which led to their being kno.wn as the "applied arts." Approaching crafts from the point of view. o.f function, we can divide them into simple categories: containers, shelter.s an.d supports. There is no way around the fact that contai.ners, shelters, and supports mu.st be functional. The applied arts a.re thus bound by the laws of physics, which perta.in to both the materials used in thei.r making and the substances and things to be contained, supported, and sheltered. These laws are universal in their application, regardless of cultural beliefs, geogr.aphy, or climate. If a pot has no bottom or has large openings in its sides, it could hardly be considered a container in any traditional sense. S.ince the laws of physics, not some arbitrary decision, have determined the general f.orm of applied-art objects, they follow .basic patterns, so much so that functional forms can vary on.ly wi.thin certain limits. Buildings without roofs, for example, are unusua.l because they depart from the norm. Ho.w.ever, not all functional .objects are exa.ctly alike; that is why we recognize a Shang Dynasty v.ase as being different from an Inca vase. W.hat varies .is .not the basic form but the incidental de.tails that do not obstruct the object's. primary function.     美容

Sensitivity t.o physical l.aws is thus an important consideration for the maker of applied-art objects. It is often ta.ken for granted that this is also true for the .maker of fine-art objects. This assumption misses a significant difference between the two disciplines. Fine-art objects are not constrained by t.he laws of physics in the same way. that a.pplied-.art objects are. Because their primary purpose is not functional, they are only limited in terms of the materials used to make them. S.culptures must, for example, be stable, which requ.ires an .understandin.g of the properties of mass, weight distribution, and stress. Paintings must have ri.gid stre.tchers so that the canvas will be taut, and the paint mus.t .not deterio.rate, crack, or discolor. .These are problems that must be overcome 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 be.cause the. cannonball was needed to support t.he weight of the leg. In other words, the demands of t.he laws of physics, n.ot the sculptor.'s aesthetic intentions, placed the ball there. T.hat this device was .a necessary s.tructural compromise 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).     美容

Even .though the fine arts i.n the twentieth century often treat materials in new ways, the basic differen.ce in attitude of artists in relation to their .material.s in the fine arts and. the applied arts remains relatively constant. It would t.herefore not be too great an exagge.ration to say that. practitioners of the fine arts work to overcome the limitations of their materials, whereas those engaged in the applied arts work in concert with thei.r materials. 电脑

Paragraph 1: Although we now tend to refer to the various crafts according to the materials used to construct them-clay, glass, wood, fiber, and metal-it was once common to think of crafts in terms of function, which led to their being known as the "applied arts." Approaching crafts 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 supports must be functional. The applied arts are thus bound by the laws of physics, which pertain to both 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 cultural beliefs, geography, or climate. If a pot has no bottom or has large openings in its sides, it could hardly 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. Buildings without roofs, for example, are unusual because they depart from the norm. However, not all functional objects are exactly alike; 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 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 essential information.
○Functional applied-art objects cannot vary much from the basic patterns determined by the laws 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 decisions cannot have determined their general form.
○The general form of applied-art objects is limited by some arbitrary decision that is not determined by the laws of physics.

Paragraph 2: Sensitivity to physical laws is thus an important consideration for the maker of applied-art objects. It is often taken for granted that this is also true for the maker of fine-art objects. This assumption misses a significant difference between the two disciplines. Fine-art objects are not constrained by the laws of physics in the same way that applied-art 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 overcome 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 sculptor's aesthetic intentions, placed the ball there. That this device was a necessary structural compromise 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 overcome
○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 applied-art objects and fine-art objects.
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Answer Choices
○Applied-art 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.
○Fine-art 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 STATEMENTS
The Applied Arts Select 3
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●
The Fine Arts Select 2
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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 on View Text.

做做 我有答案

没有 ？ 科密呢?

文字很多 不过简单的概括就是LZSB 不解释 的意思

楼主烧饼
不解释