Irma

托福分類單字 "Art" 藝術 (二)

上一篇有提到藝術類本身就是托福很愛考的主題之一，或許很多名詞是我們可能未曾聽過，因此基本上在遇到像這類型極度陌生的單字的時候，已經無法透過拆字來思考單字涵意時，就須要從上下文或文章主旨判斷這個單字在這句可能的意思，這是托福考試必備技能之一，當然這不能成為常態，因為如果有過多單字不懂那基本上也無法推論了。

1) water color painting = watercolor 水彩畫

2) ink painting 水墨畫 

3) wood-block print 木版畫 

4)像woodcut = wood engraving木刻畫       

5) full-length figure = whole-length portrait 全身畫像

6) classical painting 古典繪畫

7) ancient painting 古畫

8) half-length figure( portrait ) 半身畫

9) self-portrait 自畫像

10) print 版畫 印刷字體 印刷品，出版物 （用照相製版法製作的）繪畫複製品；印出的版畫；（底片洗出的單張）照片 （織品上的）印花 指紋 刊載 （大量）出版發行

11) fine brushwork 工筆畫 

12) color (N. / Adj.) 顏色 ； 色調 ； 染料 ； 紅潤的面色 趣味；風格； （人種的）膚色 ； 彩色的

13)  lithograph (N.) 平版印刷畫，石版畫  

14) portraiture (N.) 肖像繪製；肖像畫技法；人像攝影（法

15) icon  (N.) 圖示； 偶像； 聖像

截取托福閱讀文章(藝術類)：

  As impressive as the quality of Roman pottery is its sheer massive quantity. When considering quantities, when considering quantities, we would ideally like to have some estimates for overall production from particular sites of pottery manufacture and for overall consumption at specific settlements. Unfortunately, it is in the nature of the archaeological evidence, which is almost invariable only a sample of what once existed, that such figures will always be elusive. However, no one who has ever worked in the field would question the abundance of Roman pottery, particularly in the Mediterranean region. This abundance is notable in Roman settlements (especially urban sites) where the labor that archaeologists have to put into the washing and sorting of potsherds (fraqments of pottery) constitutes a high proportion of the total work during the initial phases of excavation.

  Only rarely can we derive any “real” quantities from deposits of broken pots. However, there is one exceptional dump, which does represent a very large part of the site’s total history of consumption and for which an estimate of quantity has been produced. On the left bank of the Tiber River in Rome, by one of the river ports of the ancient city, is a substantial hill some 50 meters high called Monte Testaccio contains the productivity and complexity that lay behind them, nonetheless cannot fail to impress. This was society with similarities to modern one – moving goods on a gigantic scale, manufacturing high-quality containers to do so, and occasionally, as here, even discarding them on delivery.

 Roman pottery was transported not only in large quantities but also over substantial distances. Many Roman pots, in particular amphorae and the fine wares designed for use at tables, could travel hundreds of miles - all over the Mediterranean and also further afield. But maps that show the various spots where Roman pottery of a particular type has been found tell only part of the story. What is more significant than any geographical spread is the access that different levels of society had to good-quality products. In all but the remotest regions of the empire, Roman pottery of a high standard is common at the sites of humble villages and isolated farmsteads.