665

During Japan’s Muromachi period (A.D.1336-1573),an important art form was monochrome painting (painting using one color),done in the manner evolved several centuries earlier by artists of the Song dynasty of China.Like their Japanese counterparts of this later age,the Song monochrome artists painted a variety of subjects,including Zen Buddhist religious officials,folk deities,and flowers and birds.But their primary interest lay in landscapes (known in Japanese as sansui,or pictures of mountains and water).And indeed Song monochrome landscapes are among the more striking works of Chinese art.They are, moreover,perhaps the most supremely moving tributes of any people to the grandeur and vastness of nature.

The Song masters did not attempt to reproduce nature as it really was;rather,they employed bold and even daring brushwork to capture in stylized outline misty scenes of forests,jagged cliffs, waterfalls,and awesome mountains (the most distant of which seem to be on the point of vanishing into space).Human figures sketched into these landscapes are usually ant-like in size.We see them,insignificant figures engulfed by the universe,as lone travelers moving slowly along mountain trails or as solitary beings seated in pavilion-like huts nestled on the sides of towering peaks. Song monochrome painting appealed particularly to the medieval Japanese because its medium of black ink was so compatible with the tastes of the age.In the first phase of painting in the Song manner during the fourteenth century,Japanese artists devoted themselves primarily to portrait and figure work,but in the fifteenth century they turned increasingly to landscapes.

Among the greatest masters of monochromatic ink work of the fifteenth century was Shubun.Although Shubun,who was active during the second quarter of the century,is reputed to have painted many different subjects in a variety of media,the only extant works attributed to him are landscapes,mostly on folding screens and sliding doors.A typical Shubun landscape is“visionary”in that it is a depiction,derived wholly from imagination,of a scene set in China.Like that of other Japanese artists of his time,Shubun’s work is also impressionistic,since space is not clearly differentiated (that is,it is difficult to judge the relative depths of the various sections of a painting)and mountains,cliffs,and other pictorial elements often appear to be suspended or not properly integrated with the rest of the landscape.By contrast,Song-style landscapes by Chinese artists are notable for the care with which they are constructed:Foregrounds,middle distances,and backgrounds are clearly distinguishable,and all parts of the picture“fit together'”into a coherent reproduction,even if stylized,of a view of nature.

Thus there appears to have been a fundamental difference in the approach to landscape between the Song-style Chinese artist and such Japanese painters as Shubun,a difference that seems to consist in the fact that the Chinese artist was as much concerned with presenting a philosophical idea as with representing visual qualities.The Chinese artist sought to portray in nature the kind of harmony and overall agreement of parts that ideally ought to prevail in human society.In other words,the Chinese artist tried to make a social statement;and the greater sense of structure and depth he could incorporate into his landscapes,the greater the philosophy of his work.

The Japanese,on the other hand,have never dealt with nature in their art in the universalistic sense of trying to discern any grand order or structure;much less have they tried to associate the ideal of order in human society with the harmonies of nature.Rather, they have most characteristically depicted nature-in their poetry, painting,and other arts-in specific distinct glimpses.The Chinese Song-style master may have admired a mountain,for example,for its enduring,fixed quality,but the typical Japanese artist (of the fifteenth century or any other age)has been more interested in a mountain for its changing aspects:for example,how it looks when covered with snow or when partly obscured by mists or clouds.

 

 

1

During Japan’s Muromachi period (A.D.1336-1573),an important art form was monochrome painting (painting using one color),done in the manner evolved several centuries earlier by artists of the Song dynasty of China.Like their Japanese counterparts of this later age,the Song monochrome artists painted a variety of subjects,including Zen Buddhist religious officials,folk deities,and flowers and birds.But their primary interest lay in landscapes (known in Japanese as sansui,or pictures of mountains and water).And indeed Song monochrome landscapes are among the more striking works of Chinese art.They are, moreover,perhaps the most supremely moving tributes of any people to the grandeur and vastness of nature.

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

Acommon

Bfamous

Cappreciated

Dimpressive

 

2

During Japan’s Muromachi period (A.D.1336-1573),an important art form was monochrome painting (painting using one color),done in the manner evolved several centuries earlier by artists of the Song dynasty of China.Like their Japanese counterparts of this later age,the Song monochrome artists painted a variety of subjects,including Zen Buddhist religious officials,folk deities,and flowers and birds.But their primary interest lay in landscapes (known in Japanese as sansui,or pictures of mountains and water).And indeed Song monochrome landscapes are among the more striking works of Chinese art.They are, moreover,perhaps the most supremely moving tributes of any people to the grandeur and vastness of nature.

According to paragraph 1,which of the following do Japanese and Chinese monochrome paintings have in common?

AThey portrayed the grandeur and vastness of nature.

BThey had varying styles that had developed over centuries.

CThey depicted a wide range of subjects.

DThey had deep religious meaning.

 

3

The Song masters did not attempt to reproduce nature as it really was;rather,they employed bold and even daring brushwork to capture in stylized outline misty scenes of forests,jagged cliffs, waterfalls,and awesome mountains (the most distant of which seem to be on the point of vanishing into space).Human figures sketched into these landscapes are usually ant-like in size.We see them,insignificant figures engulfed by the universe,as lone travelers moving slowly along mountain trails or as solitary beings seated in pavilion-like huts nestled on the sides of towering peaks. Song monochrome painting appealed particularly to the medieval Japanese because its medium of black ink was so compatible with the tastes of the age.In the first phase of painting in the Song manner during the fourteenth century,Japanese artists devoted themselves primarily to portrait and figure work,but in the fifteenth century they turned increasingly to landscapes.

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

Adisappearing

Breaching

Cblending

Dentering

 

4

The Song masters did not attempt to reproduce nature as it really was;rather,they employed bold and even daring brushwork to capture in stylized outline misty scenes of forests,jagged cliffs, waterfalls,and awesome mountains (the most distant of which seem to be on the point of vanishing into space).Human figures sketched into these landscapes are usually ant-like in size.We see them,insignificant figures engulfed by the universe,as lone travelers moving slowly along mountain trails or as solitary beings seated in pavilion-like huts nestled on the sides of towering peaks. Song monochrome painting appealed particularly to the medieval Japanese because its medium of black ink was so compatible with the tastes of the age.In the first phase of painting in the Song manner during the fourteenth century,Japanese artists devoted themselves primarily to portrait and figure work,but in the fifteenth century they turned increasingly to landscapes.

According to paragraph 2,the paintings of the Song masters had which of the following characteristics?

AA focus on human figures

BBold brush strokes outlining natural scenery

CAn attention to the realistic details of nature

DThe use of solid black areas to represent the cosmos

 

5

Among the greatest masters of monochromatic ink work of the fifteenth century was Shubun.Although Shubun,who was active during the second quarter of the century,is reputed to have painted many different subjects in a variety of media,the only extant works attributed to him are landscapes,mostly on folding screens and sliding doors.A typical Shubun landscape is“visionary”in that it is a depiction,derived wholly from imagination,of a scene set in China.Like that of other Japanese artists of his time,Shubun’s work is also impressionistic,since space is not clearly differentiated (that is,it is difficult to judge the relative depths of the various sections of a painting)and mountains,cliffs,and other pictorial elements often appear to be suspended or not properly integrated with the rest of the landscape.By contrast,Song-style landscapes by Chinese artists are notable for the care with which they are constructed:Foregrounds,middle distances,and backgrounds are clearly distinguishable,and all parts of the picture“fit together'”into a coherent reproduction,even if stylized,of a view of nature.

Paragraph 3 suggests which of the following about the typical landscape paintings by Shubun?

AThey have a clearly distinguishable foreground,middle distance, and background.

BThey seek to provide an accurate view of nature.

CThe scenes they depict were never seen by Shubun in person.

DThe scenes depicted were different from those depicted by other Japanese artists.

 

6

Among the greatest masters of monochromatic ink work of the fifteenth century was Shubun.Although Shubun,who was active during the second quarter of the century,is reputed to have painted many different subjects in a variety of media,the only extant works attributed to him are landscapes,mostly on folding screens and sliding doors.A typical Shubun landscape is“visionary”in that it is a depiction,derived wholly from imagination,of a scene set in China.Like that of other Japanese artists of his time,Shubun’s work is also impressionistic,since space is not clearly differentiated (that is,it is difficult to judge the relative depths of the various sections of a painting)and mountains,cliffs,and other pictorial elements often appear to be suspended or not properly integrated with the rest of the landscape.By contrast,Song-style landscapes by Chinese artists are notable for the care with which they are constructed:Foregrounds,middle distances,and backgrounds are clearly distinguishable,and all parts of the picture“fit together'”into a coherent reproduction,even if stylized,of a view of nature.

According to paragraph 3,monochromatic landscape art produced in Japan in the fifteenth century was different from Song-style landscapes in that the Japanese paintings

Acan be classified as impressionistic

Bwere only used to decorate folding screens and sliding doors

Crepresented the details of landscapes with great accuracy

Dwere often stylized reproductions of earlier Song works

 

7

Thus there appears to have been a fundamental difference in the approach to landscape between the Song-style Chinese artist and such Japanese painters as Shubun,a difference that seems to consist in the fact that the Chinese artist was as much concerned with presenting a philosophical idea as with representing visual qualities.The Chinese artist sought to portray in nature the kind of harmony and overall agreement of parts that ideally ought to prevail in human society.In other words,the Chinese artist tried to make a social statement;and the greater sense of structure and depth he could incorporate into his landscapes,the greater the philosophy of his work.

The Japanese,on the other hand,have never dealt with nature in their art in the universalistic sense of trying to discern any grand order or structure;much less have they tried to associate the ideal of order in human society with the harmonies of nature.Rather, they have most characteristically depicted nature-in their poetry, painting,and other arts-in specific distinct glimpses.The Chinese Song-style master may have admired a mountain,for example,for its enduring,fixed quality,but the typical Japanese artist (of the fifteenth century or any other age)has been more interested in a mountain for its changing aspects:for example,how it looks when covered with snow or when partly obscured by mists or clouds.

Which of the following best describes the relationship of paragraph 5 to paragraph 4

AParagraph 5 challenges the idea in paragraph 4 that Chinese artists tried to incorporate a sense of structure and depth into their paintings.

BParagraph 5 describes a method of painting popular among the Chinese artists discussed in paragraph 4.

CParagraph 5 discusses Japanese art to help explain the“fundamental difference”introduced in paragraph4.

DParagraph 5 discusses the work of Japanese artists to help illustrate the“philosophical idea”introduced in paragraph4.

 

8

The Japanese,on the other hand,have never dealt with nature in their art in the universalistic sense of trying to discern any grand order or structure;much less have they tried to associate the ideal of order in human society with the harmonies of nature.Rather, they have most characteristically depicted nature-in their poetry, painting,and other arts-in specific distinct glimpses.The Chinese Song-style master may have admired a mountain,for example,for its enduring,fixed quality,but the typical Japanese artist (of the fifteenth century or any other age)has been more interested in a mountain for its changing aspects:for example,how it looks when covered with snow or when partly obscured by mists or clouds.

According to paragraph 5,Japanese artists have typically depicted nature in which of the following ways?

AAs a symbol of the grand order of the universe

BAs a view into the harmony between humans and the landscape

CAs something that should be admired for its ideal structure

DAs something that appears different at different times

 

9

Look at the four squaresthat indicate where the following sentence could be added to the passage

The way they depicted humans, however, was very different from the grandeur with which they depicted nature.

Where would the sentence best fit？Click on a square  sentence to the passage.

10

Monochrome painting was an important art form during the Muromachi period in Japan.

ALike the monochrome artists of the Song dynasty,Japanese monochrome painters depicted a variety of subjects and especially liked to paint landscapes.

BBoth Song and Japanese monochrome landscapes sometimes include human figures,but in Japanese works figures are smaller and harder to distinguish from their surroundings.

CAlthough the master artist Shubun shared various philosophical ideas about nature with other Japanese landscape painters,his works depict nature in highly original ways.

DAlthough Song monochrome artists painted many subjects,the paintings most highly respected later in Japan were those of religious officials and folk gods.

EIn contrast to Song paintings in which landscape elements,though stylized,were carefully arranged,elements in Japanese scenes are more suggestive and less realistically arranged.

FWhile Song monochrome landscape painters saw a connection between nature and human society,Japanese artists mainly focused on the components of landscapes as they appeared at specific times in different natural conditions.

 

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