問題詳情

IV. Reading Comprehension: (每題 3 分，共 30 分)    The ukiyo-e genre of art flourished in Japan from the 17th through 19th centuries. Itsartists produced woodblock prints and paintings of such subjects as female beauties; kabukiactors (kabuki is a classical Japanese dance-drama) and sumowrestlers (sumo isa Japanese form of wrestling); scenes from history and folk tales; travel scenes andlandscapes; flora and fauna; and erotica. The term ukiyo-e translates as "pictures of thefloating world".   Edo (modern Tokyo) became the seat of government for the military dictatorship in the early 17th century. The merchant class at the bottom of the social order found themselves thegreatest beneficiaries of the city's rapid economic growth. Many indulged in theentertainments of kabuki theatre, courtesans, and geisha ( traditional Japanese femaleentertainers) of the pleasure districts. The term ukiyo ("floating world") came to describe thishedonistic lifestyle. Printed or painted ukiyo-e images of this environment emerged in the late17th century and were popular with the merchant class, who had become wealthy enough toafford to decorate their homes with them.   The earliest success was in the 1670s with Moronobu's paintings and monochromaticprints of beautiful women. Colour prints came gradually—at first added by hand for specialcommissions. By the 1740s, artists such as Masanobu used multiple woodblocks to printareas of colour. From the 1760s the success of Harunobu's "brocade prints" led to full-colour production becoming standard, each print made with numerous blocks. The peak period interms of quantity and quality was marked by portraits of beauties and actors by masters suchas Kiyonaga, Utamaro, and Sharaku in the late 18th century. This peak was followed in the19th century by a pair of masters best remembered for their landscapes: the boldformalist Hokusai, whose Great Wave off Kanagawa is one of the best-known works ofJapanese art; and the serene, atmospheric Hiroshige, most noted for the series The Fifty-threeStations of the Tōkaidō. Following the deaths of these two masters, and against thetechnological and social modernization that followed the Meiji Restoration of 1868, ukiyo-eproduction went into steep decline.   Some ukiyo-e artists specialized in making paintings, but most works were prints. Artistsrarely carved their own woodblocks for printing; rather, production was divided between theartist, who designed the prints; the carver, who cut the woodblocks; the printer, who inkedand pressed the woodblocks onto hand-made paper; and the publisher, who financed,promoted, and distributed the works. As printing was done by hand, printers were able toachieve effects impractical with machines, such as the blending or gradation of colours on theprinting block.   Ukiyo-e was central to forming the West's perception of Japanese art in the late 19thcentury–especially the landscapes of Hokusai and Hiroshige. From the1870s Japonism became a prominent trend and had a strong influence on theearly Impressionists such as Degas, Manet, and Monet, as well as Post-Impressionists suchas van Gogh and Art Nouveau artists such as Toulouse-Lautrec.(https://en.wikipedia.org/wiki/Ukiyo-e)
41. Which of the following is not a subject of ukiyo-e?
(A) Plants and animals.
(B) Actors from dramas.
(C) Anime characters.
(D) Beautiful women.

參考答案

答案：C
難度：適中0.5
統計：A(0),B(0),C(0),D(0),E(0)

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