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Câu hỏi: Read the passage and mark the letter A, B, C, or D on your answer sheet to indicate the correct answer to each of the questions.
The sculptural legacy that the new United States inherited from its colonial predecessors was far from a rich one, and in fact, in 1776 sculpture as an art form was still in the hand of artisans and craftspeople. Stone carvers engraved their motifs of skulls and crossbones and other religious icons of death into the gray slabs that we still see standing today in old burial grounds. Some skilled craftspeople made intricately carved wooden ornamentations for furniture or architectural decorations, while others carved wooden shop signs and ships' figureheads. Although they often achieved expression and formal excellence in their generally primitive style, they remained artisans skilled in the craft of carving and constituted a group distinct from what we normally think of as "sculptors" in today's use of the word.
On the rare occasion when a fine piece of sculpture was desired, Americans turned to foreign sculptors, as in the 1770's when the cities of New York and Charleston, South Carolina, commissioned the Englishman Joseph Wilton to make marble statues of William Pitt. Wilton also made a lead equestrian image of King George III that was created in New York in 1770 and torn down by zealous patriots six years later. A few marble memorials with carved busts, urns, or other decorations were produced in England and brought to the colonies to be set in the walls of churches - as in King's Chapel in Boston. But sculpture as a high art, practiced by artists who knew both the artistic theory of their Renaissance Baroque-Rococo predecessors and the various technical procedures of modeling, casting, and carving rich three- dimensional forms, was not known among Americans in 1776. Indeed, for many years thereafter, the United States had two groups from which to choose - either the local craftspeople or the imported talent of European sculptors.
The eighteenth century was not one in which powered sculptural conceptions were developed. Add to this the timidity with which unschooled artisans - originally trained as stonemasons, carpenters, or cabinetmakers - attacked the medium from which their sculptures were made in the United States in the late eighteenth century.
The word "commissioned" in paragraph 2 refers to.
A. enabled
B. conferred
C. allowed
D. empowered
The sculptural legacy that the new United States inherited from its colonial predecessors was far from a rich one, and in fact, in 1776 sculpture as an art form was still in the hand of artisans and craftspeople. Stone carvers engraved their motifs of skulls and crossbones and other religious icons of death into the gray slabs that we still see standing today in old burial grounds. Some skilled craftspeople made intricately carved wooden ornamentations for furniture or architectural decorations, while others carved wooden shop signs and ships' figureheads. Although they often achieved expression and formal excellence in their generally primitive style, they remained artisans skilled in the craft of carving and constituted a group distinct from what we normally think of as "sculptors" in today's use of the word.
On the rare occasion when a fine piece of sculpture was desired, Americans turned to foreign sculptors, as in the 1770's when the cities of New York and Charleston, South Carolina, commissioned the Englishman Joseph Wilton to make marble statues of William Pitt. Wilton also made a lead equestrian image of King George III that was created in New York in 1770 and torn down by zealous patriots six years later. A few marble memorials with carved busts, urns, or other decorations were produced in England and brought to the colonies to be set in the walls of churches - as in King's Chapel in Boston. But sculpture as a high art, practiced by artists who knew both the artistic theory of their Renaissance Baroque-Rococo predecessors and the various technical procedures of modeling, casting, and carving rich three- dimensional forms, was not known among Americans in 1776. Indeed, for many years thereafter, the United States had two groups from which to choose - either the local craftspeople or the imported talent of European sculptors.
The eighteenth century was not one in which powered sculptural conceptions were developed. Add to this the timidity with which unschooled artisans - originally trained as stonemasons, carpenters, or cabinetmakers - attacked the medium from which their sculptures were made in the United States in the late eighteenth century.
The word "commissioned" in paragraph 2 refers to.
A. enabled
B. conferred
C. allowed
D. empowered
Dịch toàn bài:
Giải thích:
Từ “commissioned” trong đoạn 2 đề cập đến _______.
A. cho phép
B. hội ý, trao cho
C. cho phép
D. trao quyền
commission (v): ủy thác = empower
| The sculptural legacy that the new United States inherited from its colonial predecessors was far from a rich one, and in fact, in 1776 sculpture as an art form was still in the hand of artisans and craftspeople. Stone carvers engraved their motifs of skulls and crossbones and other religious icons of death into the gray slabs that we still see standing today in old burial grounds. Some skilled craftspeople made intricately carved wooden ornamentations for furniture or architectural decorations, while others carved wooden shop signs and ships' figureheads. Although they often achieved expression and formal excellence in their generally primitive style, they remained artisans skilled in the craft of carving and constituted a group distinct from what we normally think of as "sculptors" in today's use of the word. On the rare occasion when a fine piece of sculpture was desired, Americans turned to foreign sculptors, as in the 1770's when the cities of New York and Charleston, South Carolina, commissioned the Englishman Joseph Wilton to make marble statues of William Pitt. Wilton also made a lead equestrian image of King George III that was created in New York in 1770 and torn down by zealous patriots six years later. A few marble memorials with carved busts, urns, or other decorations were produced in England and brought to the colonies to be set in the walls of churches - as in King's Chapel in Boston. But sculpture as a high art, practiced by artists who knew both the artistic theory of their Renaissance Baroque-Rococo predecessors and the various technical procedures of modeling, casting, and carving rich three-dimensional forms, was not known among Americans in 1776. Indeed, for many years thereafter, the United States had two groups from which to choose - either the local craftspeople or the imported talent of European sculptors. The eighteenth century was not one in which powered sculptural conceptions were developed. Add to this the timidity with which unschooled artisans - originally trained as stonemasons, carpenters, or cabinetmakers – attacked the medium from which their sculptures were made in the United States in the late eighteenth century. | Di sản điêu khắc mà Mỹ đã thừa kế từ những thuộc địa tiền thân không thể coi là dồi dào, và thật ra, vào năm 1776 hình thức nghệ thuật điêu khắc vẫn còn nằm trong tay của các nghệ nhân và thợ thủ công. Thợ khắc đá đã chạm khắc các họa tiết đầu lâu xương chéo và những biểu tượng tôn giáo khác về cái chết lên những phiến đá màu xám mà ngày nay cũng ta vẫn thấy ở những ngôi mộ cũ. Một số thợ thủ công có tay nghề đã làm những món đồ trang trí gỗ được chạm khắc tinh xảo cho nội thất hoặc đồ trang trí kiến trúc, trong khi những người khác thì chạm khắc biển hiệu cửa hàng và hình chạm mũi tàu. Mặc dù họ biểu thị tốt và xuất sắc trong phong cách nguyên sơ nói chung, nhưng họ vẫn là những nghệ nhân có tay nghề chạm khắc cao và tạo thành một nhóm khác với những gì chúng ta thường nghĩ là “nhà điêu khắc” trong từ ngữ ngày nay. Trong những dịp hiếm hoi cần đến một tác phẩm điêu khắc đẹp, người Mỹ đã tìm đến những nhà điêu khắc ngoại quốc, vì những năm 1770 là khi các thành phố như New York và Charleston, ở Nam Carolina, ủy quyền cho một người Anh tên Joseph Wilton để làm tượng William Pitt bằng cẩm thạch. Wilton cũng tạo nên hình ảnh cưỡi ngựa đầu đoàn của Vua George III tại New York vào năm 1770 và đã bị phá hủy sáu năm sau đó bởi những người yêu nước nhiệt thành. Một số đài tưởng niệm bằng đá cẩm thạch chạm khắc tượng bán thân, bình vại hoặc những trang trí khác đã được sản xuất ở Anh và mang đến các thuộc địa để đặt trên các bức tường của nhà thờ - như trong Nhà nguyện của Vua ở Boston. Nhưng nghệ thuật điêu khắc cao cấp, thực hiện bởi các nghệ nhân hiểu biết cả về lý thuyết kiến trúc Baroque-Rococo thời Phục Hưng và các kỹ năng chế tác khác như tạo mẫu vật, đổ khuôn, và khắc 3D, không được người Mỹ biết đến vào năm 1776. thực tế, nhiều năm sau đó, Hoa Kỳ đã có hai nhóm người để lựa chọn - thợ thủ công địa phương hoặc nhà điêu khắc tài năng từ châu Âu. Thế kỷ 18 không phải là thời kỳ tạo điều kiện cho điêu khắc phát triển. Thêm vào đó là sự rụt rè của những nghệ nhân chưa qua trường lớp - những người ban đầu không được đào tạo để làm thợ khắc đá, thợ mộc, hoặc thợ nội các - đã không khuyến khích điêu khắc phát triển ở Mỹ vào cuối thế kỷ 18. |
Từ “commissioned” trong đoạn 2 đề cập đến _______.
A. cho phép
B. hội ý, trao cho
C. cho phép
D. trao quyền
commission (v): ủy thác = empower
Đáp án D.