Question

Which one of the following scenarios is unlikely to follow from the arguments in the passage?

• A. A 21st century Christian scientist is likely to oppose cloning because of his philosophical orientation.
• B. A 17th century British painter would have no problem adding personal touches when restoring an ancient Roman painting.
• C. A 17th century French artist who adhered to a Christian worldview would need to be completely true to the original intent of a painting when restoring it.
• D. A 20th century Japanese Buddhist monk would value a reconstructed shrine as the original.
• A. Both can be regarded as very old structures
• B. Both are continually undergoing restoration
• C. Both were built as places of worship.
• D. Both will one day be completely rebuilt.
• A. it allows regular employment for certain craftsmen.
• B. it discourages them from carrying out human cloning.
• C. it discourages them from making interventions in ancient art.
• D. it discourages them from simultaneous displays of multiple copies of a painting
• A. Pablo Picasso’s painting of Vincent van Gogh’s original painting, bearing Picasso’s signature.
• B. Pablo Picasso’s miniaturised, but otherwise faithful and accurate painting of Vincent van Gogh’s original painting.
• C. Pablo Picasso’s photograph of Vincent van Gogh’s original painting, printed to exactly the same scale.
• D. Pablo Picasso’s painting of Vincent van Gogh’s original painting, identical in every respect. respect.

Answer 1

The Correct Option is C

The passage elucidates differences in cultural perceptions about originality and replication between Eastern and Western societies. It particularly highlights how Western and Eastern philosophies toward copies have historically diverged, affecting views on reconstruction and authenticity across cultures. Let's analyze the provided scenarios using this context:

• A 21st century Christian scientist is likely to oppose cloning because of his philosophical orientation.
  The passage notes that Christians generally oppose cloning due to their philosophical beliefs. Therefore, this scenario aligns well with the arguments in the passage. 
• A 17th century British painter would have no problem adding personal touches when restoring an ancient Roman painting.
  The passage mentions that in the 17th century, Western practices included significant intervention in archaeological artworks. This would support the notion that adding personal touches was acceptable, thus, this scenario follows from the passage.
• A 17th century French artist who adhered to a Christian worldview would need to be completely true to the original intent of a painting when restoring it.
  The passage indicates that in the 17th century, the Western approach to art was not about being faithful to the original intent of artworks but rather involved considerable personal intervention. Thus, this scenario is unlikely as it contradicts the historical context provided about Western art restoration practices.
• A 20th century Japanese Buddhist monk would value a reconstructed shrine as the original.
  The passage provides the example of the Ise Grand Shrine in Japan, which is entirely rebuilt every 20 years but is still considered original by the Japanese. This aligns well with the scenario provided.

Therefore, the scenario "A 17th century French artist who adhered to a Christian worldview would need to be completely true to the original intent of a painting when restoring it." is unlikely based on the historical context and arguments presented in the passage.

Answer 2

The passage describes the construction and repair approaches of the Ise Grand Shrine and the Freiburg Minster. Despite their differences in cultural perspective on restoration and originality, both structures share certain attributes:

• Historical Background: Both the Ise Grand Shrine and the Freiburg Minster are regarded as historical structures. The Ise Grand Shrine, with a history extending over 1,300 years, is celebrated for its periodical reconstruction every 20 years. Similarly, the Freiburg Minster is a medieval cathedral, emphasizing its long-standing historical significance.
• Purpose: Both structures were initially constructed as places of worship, serving significant roles within their respective religious and cultural communities.
• Ongoing Maintenance: The correct statement from the given options is that both structures are "continually undergoing restoration." The Ise Grand Shrine is rebuilt entirely every two decades, while the Freiburg Minster undergoes constant repairs to counteract the natural erosion of its sandstone.
• Reconstruction Outlook: Although the Ise Grand Shrine is known for its complete periodic reconstruction, the Freiburg Minster follows a different restoration practice where parts are replaced progressively over time. Thus, the concept that "both will one day be completely rebuilt" does not fit the Freiburg Minster.

Therefore, the statement about both structures continually undergoing restoration is indeed accurate, as the ongoing maintenance and renewal processes align with their preservation needs, showcasing the cultural focus on longevity and reverence.

Answer 3

The passage discusses the Western value placed on "an unassailable original" and how it differs from Eastern perspectives on copies and replicas. It highlights the Western historical evolution towards valuing original pieces of art and the negative connotations associated with copies, unlike in China, where copies are often considered of equal value.

Let's evaluate the provided options:

• It allows regular employment for certain craftsmen. This option aligns with the passage's observation regarding the continuous work needed to preserve or replicate artworks like the Freiburg Minster Cathedral.
• It discourages them from carrying out human cloning. The text differentiates Eastern and Western perspectives on cloning, suggesting that Western values prioritize originality and continuity, unlike the Eastern comfort with cloning, seen as recycling life based on their beliefs. This option is a consequence unrelated to the "unassailable original" value.
• It discourages them from making interventions in ancient art. Western treatment has moved from altering ancient artworks to focusing on preserving originals, which aligns with the provided emphasis on "unassailable originals."
• It discourages them from simultaneous displays of multiple copies of a painting. Western preference for originals over copies implies that displaying multiple copies is less favored.

In conclusion, the passage does not directly link the Western value of "an unassailable original" to discouragement against human cloning, making it the correct choice for the exception: it discourages them from carrying out human cloning.

Answer 4

The passage distinguishes between two Chinese concepts of copies: fangzhipin, which are obvious imitations, and fuzhipin, which are exact reproductions considered equal in value to the original. The key point is that for the Chinese, a fuzhipin holds the same value as the original, without negative connotations. This understanding is often at odds with Western views, where the original is typically valued more highly than any reproduction. The correct answer is determined by identifying which option closely aligns with the concept of fuzhipin, as per Chinese perception.

Options analysis:

• Pablo Picasso’s painting of Vincent van Gogh’s original painting, bearing Picasso’s signature: This is not an exact copy because it includes Picasso's signature, making it identifiable as a distinct version.
• Pablo Picasso’s miniaturised, but otherwise faithful and accurate painting of Vincent van Gogh’s original painting: This is not an exact reproduction because the size differs from the original.
• Pablo Picasso’s photograph of Vincent van Gogh’s original painting, printed to exactly the same scale: Although the scale is identical, a photograph is a different medium and thus not an exact reproduction in original form.
• Pablo Picasso’s painting of Vincent van Gogh’s original painting, identical in every respect: This matches the Chinese concept of fuzhipin—an exact reproduction with no discernible differences from the original.

Considering these analyses, the Chinese museum would be unlikely to consider the last option as having less value than the original because it fits their acceptance of fuzhipin, which are as valuable as the original.