托福TPO閱讀真題及譯文：Chinese Pottery

第一段：

托福TPO閱讀原文：
　　China has one of the world's oldestcontinuous civilizations—despite invasions and occasional foreign rule. Acountry as vast as China with so long-lasting a civilization has a complexsocial and visual history, within which pottery and porcelain play a majorrole.

托福TPO閱讀翻譯：
　　盡管中國曾飽受入侵，偶爾喪失主權受制于外國，她仍然擁有世界上最源遠流長的文明。像中國一個擁有悠久文明的大國，而陶瓷在其復雜的社會歷史以及視覺歷史中扮演了極為重要的角色。

第二段：

托福TPO閱讀原文：
　　The function and status of ceramics inChina varied from dynasty to dynasty, so they may be utilitarian, burial,trade-collectors', or even ritual objects, according to their quality and theera in which they were made. The ceramics fall into three broadtypes—earthenware, stoneware, and porcelain—for vessels, architectural itemssuch as roof tiles, and modeled objects and figures. In addition, there was animportant group of sculptures made for religious use, the majority of whichwere produced in earthenware.

托福TPO閱讀翻譯：
　　在中國，每一個朝代陶瓷的功能和地位都是不同的，所以，根據它們的質量和制作年代的不同，可以是實用器物、陪葬品、貿易收藏品，甚至是禮器。對于容器、瓦片等建筑材料、模仿的物體或人物，陶瓷廣義上被分為3大類：陶器、炻器和瓷器。另外，瓷器中還有很重要的一類就是宗教用途的雕塑，它們多數是陶質的。

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第三段：

托福TPO閱讀原文：
　　The earliest ceramics were fired toearthenware temperatures, but as early as the fifteenth century B.C.,high-temperature stone wares were being made with glazed surfaces. During theSix Dynasties period (AD 265-589), kilns in north China were producinghigh-fired ceramics of good quality. White wares produced in Hebei and Henanprovinces from the seventh to the tenth centuries evolved into the highlyprized porcelains of the Song dynasty (AD. 960-1279), long regarded as one ofthe high points in the history of China's ceramic industry. The tradition ofreligious sculpture extends over most historical periods but is less clearlydelineated than that of stone wares or porcelains, for it embraces the oldcustom of earthenware burial ceramics with later religious images andarchitectural ornament. Ceramic products also include lead-glazed tomb modelsof the Han dynasty, three-color lead-glazed vessels and figures of the Tangdynasty, and Ming three-color temple ornaments, in which the motifs wereoutlined in a raised trail of slip—as well as the many burial ceramics producedin imitation of vessels made in materials of higher intrinsic value.

托福TPO閱讀翻譯：
　　盡管最早的陶瓷是在制陶的溫度下燒制的，但是早在公元前15世紀，就已經出現了上釉的高溫炻器。六朝時期（公元265-589年），中國北方就有窯爐在燒制優(yōu)質的高溫瓷器。從7世紀到10世紀，河北以及河南省產的白瓷逐漸演變成為享有盛名的宋瓷（公元960-1279年）——長久以來被認為是中國陶瓷業(yè)歷史中的巔峰時期之一。宗教雕塑的傳統在大部分歷史時期中都有延續(xù)，但是沒有炻器和瓷器質地的雕塑描繪的那么清晰，有一種古老的習俗，就是將刻著新的宗教形象和建筑裝飾的陶器作為陪葬品。瓷制品還包括漢朝的鉛釉隨葬陶俑，唐朝的三彩鉛釉器皿和人物，明朝的以泥釉凸紋展現輪廓的三彩寺廟裝飾物以及很多用來仿制貴重器皿的陪葬瓷器。

第四段：

托福TPO閱讀原文：
　　Trade between the West and the settled andprosperous Chinese dynasties introduced new forms and different technologies.One of the most far-reaching examples is the impact of the fine ninth-centuryAD. Chinese porcelain wares imported into the Arab world. So admired were thesepieces that they encouraged the development of earthenware made in imitation ofporcelain and instigated research into the method of their manufacture. Fromthe Middle East the Chinese acquired a blue pigment—a purified form of cobaltoxide unobtainable at that time in China—that contained only a low level ofmanganese. Cobalt ores found in China have a high manganese content, whichproduces a more muted blue-gray color. In the seventeenth century, the tradingactivities of the Dutch East India Company resulted in vast quantities ofdecorated Chinese porcelain being brought to Europe, which stimulated andinfluenced the work of a wide variety of wares, notably Delft. The Chinesethemselves adapted many specific vessel forms from the West, such as bottleswith long spouts, and designed a range of decorative patterns especially forthe European market.

托福TPO閱讀翻譯：
　　西方國家和繁榮穩(wěn)定的歷代中國朝代之間的貿易促使雙方互相引入了新的形式和不同的技術。有一個意義最為深遠的例子，公元9世紀精美中國瓷器出口到阿拉伯世界，帶來巨大的影響。阿拉伯人對這些瓷器贊不絕口，于是他們鼓勵制陶來仿制瓷器，并激勵人們研究制作方法。中國人從中東獲得了一種藍色顏料——一種純化的氧化鈷，當時在中國并未出現，其中只含有少量的錳。中國境內發(fā)現的鈷礦石含有大量的會產生暗藍灰色的錳元素。17世紀，大量中國裝飾類瓷器通過荷蘭東印度公司的交易活動流入歐洲，這刺激和影響了廣泛多樣的瓷器的生產，特別是代爾夫特 。中國人自己改良了很多種來自西方的特殊器皿，比如長嘴的瓶子，并專門為歐洲市場設計了一系列裝飾性圖案。

第五段：

托福TPO閱讀原文：
　　Just as painted designs on Greek pots mayseem today to be purely decorative, whereas in fact they were carefully andprecisely worked out so that at the time, their meaning was clear, so it iswith Chinese pots. To twentieth-centuryeyes, Chinese pottery may appear merely decorative, yet to the Chinese the formof each object and its adornment had meaning and significance. The dragonrepresented the emperor, and the phoenix, the empress; the pomegranateindicated fertility, and a pair of fish, happiness; mandarin ducks stood forwedded bliss; the pine tree, peach, and crane are emblems of long life; and fishleaping from waves indicated success in the civil service examinations. Onlywhen European decorative themes were introduced did these meanings becomeobscured or even lost.

托福TPO閱讀翻譯：
　　就像希臘的陶器上所繪的圖案，今天看來也許純粹是為了裝飾，然而事實上在當時它們都是人們精心燒制而成的，它們的意義在當時非常明確，中國的瓷器也是如此。以20世紀的眼光來看，中國制造的陶瓷也許僅僅是裝飾品，但是對于中國人來說每個物件的形狀及它的裝飾都有寓意非凡，影響深遠。龍代表皇帝，鳳代表皇后；石榴意味著多子，雙魚意味著幸福；鴛鴦寓意著婚姻幸福美滿；松樹、桃樹以及鶴都是長壽的象征；魚躍出水面意味著科舉考試會高中。但是歐洲的裝飾主題被引進后，這些寓意就變得不再那么流行甚至丟失了。

第六段：

托福TPO閱讀原文：
　　From early times pots were used in bothreligious and secular contexts. The imperial court commissioned work and in theYuan dynasty (A.D. 1279-1368) an imperial ceramic factory was established atJingdezhen. Pots played an important part in some religious ceremonies. Longand often lyrical descriptions of the different types of ware exist that assistin classifying pots, although these sometimes confuse an already large andcomplicated picture.

托福TPO閱讀翻譯：

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）在景德鎮(zhèn)設立了一座官窯。陶瓷器皿在一些宗教儀式上也有著重要的地位�，F存的關于不同類型的陶瓷器具很多長篇且抒情的描述可以幫助我們對其進行分類，盡管這些描述有時候會使得一幅大而復雜的畫面顯得凌亂。