新托福TPO10阅读原文及译文(一)Chinese Pottery

新托福TPO10阅读原文(一):Chinese Pottery

TPO10-1：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 (AD 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 (AD. 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 AD. 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.

译文TPO10-1：中国的陶瓷

尽管中国曾饱受入侵，偶尔丧失主权受制于外国，她仍然拥有世界上最源远流长的文明。像中国一个拥有悠久文明的大国，而陶瓷在其复杂的社会历史以及视觉历史中扮演了极为重要的角色。

在中国，每一个朝代陶瓷的功能和地位都是不同的，所以，根据它们的质量和制作年代的不同，可以是实用器物、陪葬品、贸易收藏品，甚至是礼器。对于容器、瓦片等建筑材料、模仿的物体或人物，陶瓷广义上被分为3大类：陶器、炻器和瓷器。另外，瓷器中还有很重要的一类就是宗教用途的雕塑，它们多数是陶质的。

尽管最早的陶瓷是在制陶的温度下烧制的，但是早在公元前15世纪，就已经出现了上釉的高温炻器。六朝时期(公元265-589年)，中国北方就有窑炉在烧制优质的高温瓷器。从7世纪到10世纪，河北以及河南省产的白瓷逐渐演变成为享有盛名的宋瓷(公元960-1279年)——长久以来被认为是中国陶瓷业历史中的巅峰时期之一。宗教雕塑的传统在大部分历史时期中都有延续，但是没有炻器和瓷器质地的雕塑描绘的那么清晰，有一种古老的习俗，就是将刻着新的宗教形象和建筑装饰的陶器作为陪葬品。瓷制品还包括汉朝的铅釉随葬陶俑，唐朝的三彩铅釉器皿和人物，明朝的以泥釉凸纹展现轮廓的三彩寺庙装饰物以及很多用来仿制贵重器皿的陪葬瓷器。

西方国家和繁荣稳定的历代中国朝代之间的贸易促使双方互相引入了新的形式和不同的技术。有一个意义最为深远的例子，公元9世纪精美中国瓷器出口到阿拉伯世界，带来巨大的影响。阿拉伯人对这些瓷器赞不绝口，于是他们鼓励制陶来仿制瓷器，并激励人们研究制作方法。中国人从中东获得了一种蓝色颜料——一种纯化的氧化钴，当时在中国并未出现，其中只含有少量的锰。中国境内发现的钴矿石含有大量的会产生暗蓝灰色的锰元素。17世纪，大量中国装饰类

瓷器通过荷兰东印度公司的交易活动流入欧洲，这刺激和影响了广泛多样的瓷器的生产，特别是代尔夫特。中国人自己改良了很多种来自西方的特殊器皿，比如长嘴的瓶子，并专门为欧洲市场设计了一系列装饰性图案。

就像希腊的陶器上所绘的图案，今天看来也许纯粹是为了装饰，然而事实上在当时它们都是人们精心烧制而成的，它们的意义在当时非常明确，中国的瓷器也是如此。以20世纪的眼光来看，中国制造的陶瓷也许仅仅是装饰品，但是对于中国人来说每个物件的形状及它的装饰都有寓意非凡，影响深远。龙代表皇帝，凤代表皇后;石榴意味着多子，双鱼意味着幸福;鸳鸯寓意着婚姻幸福美满;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会高中。但是欧洲的装饰主题被引进后，这些寓意就变得不再那么流行甚至丢失了。

陶瓷器皿在很早期就已用于宗教和日常生活中。朝廷分派了制作工作，并于元朝(公元1279-1368年)在景德镇设立了一座官窑。陶瓷器皿在一些宗教仪式上也有着重要的地位。现存的关于不同类型的陶瓷器具很多长篇且抒情的描述可以帮助我们对其进行分类，尽管这些描述有时候会使得一幅大而复杂的画面显得凌乱。

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托福TPO52 三篇阅读翻译!!倒序!!

3.Early Food Production in Sub-Saharan Africa 在更新世末期（大约公元前10000年），食品生产的技术可能已经在非洲西部和中部 的热带雨林的边缘地区使用，在那里非洲山药等根茎型植物的普遍使用，使人们认识到自己种植食物的好处。这种原始形式的“蔬菜栽培”（块根植物和树本作物的种植）可 能已经成为了一种经济传统，基于这种传统，夏季降水谷类作物的种植也采用嫁接的办法，这种种植技术已经在撒哈拉沙漠南部边界地区的草原南部被使用。随着撒哈拉 沙漠在公元前5000年之后干涸，游牧民族（牧民）向南沿着主要河道迁移到了西非和苏丹的热带草原地带。 直到公元前3000年，正如埃及文明发源于尼罗河流域一样，这些游牧民族定居在了离南部很远的东非高原地区的中心。东非高原是理想的养牛场所，如今也是像马赛人（肯尼亚和坦桑尼亚的游牧狩猎民族）这样的有名的牧牛民族的家园。直到大约公元前3300 年，第一批牧牛人出现时，高地上居住着狩猎采集者，他们居住在平原附近的山区。和其他地方的情况一样，在非洲，牛是饲养起来很费劲的动物。如果要饲养各种规模 的牛群的话，这些牛至少每24小时就需要喝一次水，而且需要大片的牧场。饲养的秘 诀在于仔细挑选放牧场地，尤其是在季节性降雨会导致全年牧草质量有明显差异的环境中。即使是规模适中的牛群也需要大片的土地和相当大的可移动性。为了获得这样的土地，经常需要牛群移动相当远的距离，甚至是从夏季牧场移动到冬季牧场。同时，放牧人不得不让牲畜在有舌蝇出没的地带吃草。唯一能够保护人类和牲畜，不患上昏 睡病（一种由舌蝇传播的疾病）的办法，就是避免在这些地区定居或者放牧——对非 洲东部和中部地区的牧民来说，这个办法严重地限制了他们的迁移。结果是，小牛群迅速地向南部地区迁移，在那里人们可以放牧。在谷类农业占领最南部的撒哈拉沙漠之前，非洲东部和南部稀树草原地区的一些依靠狩猎和采集生活的人可能已经饲养了牛群和其他家养动物，他们将牲畜作为礼物交换，或者通过劫掠放牧的邻居，来获得这些牲畜。 和主流观点相反：没有所谓的“纯粹”的牧民，即只依靠牧群生存的社会。撒哈拉沙漠地 区为了躲避干旱而向南迁移的牧民，几乎肯定的是他们也在种植高粱、小米和其他热带降雨作物。到公元前1500年，谷类作物已经广泛分布于整个撒哈拉沙漠南部的稀树 草原带。小型农业社区遍布在草原和西非东部森林的边界处，这些小型农业社区都依赖于所谓的轮耕法。这种形式的农业包括清理林地，焚烧清理过的地块上的那些被砍倒的灌木丛，将灰烬混合在土壤中，然后在这些制备好的土地上耕种。几年后，土地耗尽了养分，于是农民们继续前进，开辟新的林地，让原来的荒地休耕。轮耕法，也 被称为“刀耕火种”，高度适用于没有犁的稀树草原地区的农民，因为这种方法能够消耗 最少的能量。

新托福TPO11阅读原文及译文(一)

新托福TPO11阅读原文(一):Ancient Egyptian Sculpture TPO11-1：Ancient Egyptian Sculpture In order to understand ancient Egyptian art, it is vital to know as much as possible of the elite Egyptians' view of the world and the functions and contexts of the art produced for them. Without this knowledge we can appreciate only the formal content of Egyptian art, and we will fail to understand why it was produced or the concepts that shaped it and caused it to adopt its distinctive forms. In fact, a lack of understanding concerning the purposes of Egyptian art has often led it to be compared unfavorably with the art of other cultures: Why did the Egyptians not develop sculpture in which the body turned and twisted through space like classical Greek statuary? Why do the artists seem to get left and right confused? And why did they not discover the geometric perspective as European artists did in the Renaissance? The answer to such questions has nothing to do with a lack of skill or imagination on the part of Egyptian artists and everything to do with the purposes for which they were producing their art. The majority of three-dimensional representations, whether standing, seated, or kneeling, exhibit what is called frontality: they face straight ahead, neither twisting nor turning. When such statues are viewed in isolation, out of their original context and without knowledge of their function, it is easy to criticize them for their rigid attitudes that remained unchanged for three thousand years. Frontality is, however, directly related to the functions of Egyptian statuary and the contexts in which the statues were set up. Statues were created not for their decorative effect but to play a primary role in the cults of the gods, the king, and the dead. They were designed to be put in places where these beings could manifest themselves in order to be the recipients of ritual actions. Thus it made sense to show the statue looking ahead at what was happening in front of it, so that the living performer of the ritual could interact with the divine or deceased recipient. Very often such statues were enclosed in rectangular shrines or wall niches whose only opening was at the front, making it

新托福TPO26阅读原文及译文(一)

新托福TPO26阅读原文(一)：能源与工业革命 TPO26-1：nergy and the Industrial Revolution For years historians have sought to identify crucial elements in the eighteenth-century rise in industry, technology, and economic power known as the Industrial Revolution, and many give prominence to the problem of energy. Until the eighteenth century, people relied on energy derived from plants as well as animal and human muscle to provide power. Increased efficiency in the use of water and wind helped with such tasks as pumping, milling, or sailing. However, by the eighteenth century, Great Britain in particular was experiencing an energy shortage. Wood, the primary source of heat for homes and industries and also used in the iron industry as processed charcoal, was diminishing in supply. Great Britain had large amounts of coal; however, there were not yet efficient means by which to produce mechanical energy or to power machinery. This was to occur with progress in the development of the steam engine. In the late 1700s James Watt designed an efficient and commercially viable steam engine that was soon applied to a variety of industrial uses as it became cheaper to use. The engine helped solve the problem of draining coal mines of groundwater and increased the production of coal needed to power steam engines elsewhere. A rotary engine attached to the steam engine enabled shafts to be turned and machines to be driven, resulting in mills using steam power to spin and weave cotton. Since the steam engine was fired by coal, the large mills did not need to be located by rivers, as had mills that used water- driven machines. The shift to increased mechanization in cotton production is apparent in the import of raw cotton and the sale of cotton goods. Between 1760 and 1850, the amount of raw cotton imported increased 230 times. Production of British cotton goods increased sixtyfold, and cotton cloth became Great Britain’s most important product, accounting for one-half of all exports. The success of the steam engine resulted in increased demands for coal, and the consequent increase in coal production was made possible as the steam-powered pumps drained water from the ever-deeper coal seams found below the water table.

新托福真题TPO27阅读翻译及词汇整理

智课网TOEFL备考资料

新托福真题TPO27阅读翻译及词汇整理 摘要：新托福真题TPO27阅读翻译及词汇整理，下面是小马过河为同学们搜集整理的新托福真题TPO27阅读翻译及词汇整理的相关信息，小马小编整理过来，供同学们参考。 Crafts in the Ancient near East古代近东的手工艺 本文为最新的托福真题TPO第27套阅读第一篇，文章反映了托福“古代社会文明”类型的阅读的特点，阅读中的学科词汇很典型，对我们准备托福的阅读有很重要的参考意义，备战托福的同学不可错过。 学科词汇总结words craft手工艺 urban城市的 civilization 文明 settlement定居点 agriculture农业 pottery实用陶器 textile纺织品

mold模具 carve雕刻 relief浮雕 clay粘土 utilitarian实用的 elaborate精心制作的 refined精制的文章翻译translation 一、人类历史上的第一个城市乌鲁克兴起。 Some of the earliest human civilizations arose in southern Mesopotamia, in what is nowsouthern Iraq, in the fourth millennium B.C.E. In the second half of that millennium, in thesouth around the city of Uruk, there was an enormous escalation in the area occupied bypermanent settlements. A large part of that increase took place in Uruk itself, which became areal urban center surrounded by a set of secondary settlements. While population estimatesare notoriously unreliable, scholars assume that Uruk inhabitants were able to supportthemselves from the agricultural production of the field surrounding the city, which could bere ached with a daily commute. But Uruk’s dominant size in the entire region, far surpassingthat of other settlements, indicates that it was a regional center and a true city. Indeed, it wasthe first city in human history.一些人类最早的文明崛起于公元前四千年的米索达比亚的南部(如今的伊拉克南部)。在公元前四千年的后半期，在乌鲁克城的南部附近被永久定居点占据的区域急剧的增加, 大部分的增长都发生在乌鲁克城内，使其成为了一个真正的城市中心并被一些次要的定居点包围着。虽然众所周知人口估计数是不可靠的，学者们认为乌鲁克居民每天往返城市和城市周边的田地,可以通过周边田地的农业生产来

托福OG TEST 2——green icebergs原文翻译。解析

绿色冰山 冰山就是巨大的冰块，它们的形状各不规则；他们在海面上所呈现出来的部分大概只有总量的12%。冰山是由冰川----从格陵兰岛, 南极洲, 和阿拉斯加的内陆降雪开始积累成为大河中的冰----然后缓慢流入海洋。向前的移动，在进入海洋的时候冰川底部的融化，和波浪与潮汐变化造成了冰块的断裂从而漂浮在海上。 冰山的颜色一般是从蓝到白，虽然有时会因为他们带有砂砾和石块而显得颜色很深或不透明。在不同情况的光和云量下，它们的颜色呈现可能会随之不同，如在早晨和傍晚的阳光下所呈现的耀眼的粉色或金色，但这个颜色变化大致与太阳位于海平面上的低角度有关。不管怎样，总会有到南极洲的旅游者们报告说在Weddell Sea看到了绿冰山，南极洲东部Amery Ice Shelf的附近则更为常见。 对于绿冰山的颜色的一个解释是由于纯冰被接近海平面的太阳所照射而造成的错觉，但是绿冰山在很多不同状态的阳光下都能从白色和蓝色冰山中区分出来。另一个解释就是，它的颜色可能与冰里面所含高浓度的金属化合物有关，比如铜和铁。进来的探险队从南极洲的冰架上带回了一些绿色冰山和冰核的样本----到达深度的垂直圆柱型的冰的样本。对这些冰核和样本的分析给问题提供了一个不一样的解决方法。 215米长的冰架核已经足够用来穿透由压缩的雪组成，并含有气泡的流动冰，并随后穿透在流动冰的底部由冻结的海水形成的清透的没有气泡的冰。这个清透的冰的性质与绿冰山上的冰十分相似。科学家总结出，绿冰的构成是在两层的架冰分开并翻转过来时，暴露出的没有气泡的海水冰。 一个在Amery Ice Shelf西部滞留的绿冰山呈现出了两个明显的层：含有气泡的白蓝色冰，和没有气泡的绿色冰，它们中间是由1米长的带有沉积物的冰分隔开的。海水的侵蚀决定了绿色冰的质地。由于光的分散，裂痕处的颜色是浅绿的；而没有裂痕的地方是深绿色。绿色冰中是没有气泡的，因为它是由冻结的海水所构成，而不是压缩的雪。沿着这个地区冰架的边缘，可以发现，带有绿色色素的单细胞生物非常多，而且海水里面含有它们丰富的分解有机物质。绿冰山虽没有包含很多这些生物体的微粒，但从海水中所积累的分解有机物质还是很多的。不同于盐，分解有机物质并没有在结冰过程中被排除掉。分析表明，分解的有机物质会从太阳光中吸收足够的蓝波段，从而使冰呈现出绿色。 化学证据表明冰的小盘（微小的平面部分）是在水中构成，然后共生并附着在冰架底部形成一个slush （部分融化的雪）。Slush被一种未知的原理压缩成冰，而这种固体，没有气泡的冰形成于可溶解的有机物质多的水。当冰山从冰架上分离并翻转过来时，绿色冰便呈现出来了。 GREEN ICEBERG 1. 排除法，第一句说irregular shape，所以A正确，不选；第一句还说12% above sea surface，所以C说反，选；最后一句说了B和D两个答案，对，不选 2. 以dark or opaque做关键词定位至第一句，because后面是原因，很明显答案是B