Unit3 The Art of Painting（暑假单元自测）新高二英语译林版选择性必修第一册

**基本信息** 译林版高中英语Unit 3单元卷聚焦“艺术与生活”主题，精选莫奈沉浸式展览、蜜蜂雕塑等时代素材，融合科技、环保与文化传承，全面考查语言能力与跨文化思维，适配暑假单元复习与核心素养培养。 **题型特征** |题型|题量/分值|知识覆盖|命题特色| |----|-----------|----------|----------| |阅读|20题/50分|细节理解、推理判断、主旨归纳|以360度数字展览、生态艺术等真实情境考查信息获取，培养文化意识与思维品质| |语言运用|25题/30分|语法填空、完形填空|通过火灾后艺术创作等情感语境，考查词汇运用与语境理解，提升语言能力| |写作|2题/40分|应用文、故事续写|金缕玉衣推荐题强化文化传承，AI与传统艺术冲突续写题激发创新思维，落实学习能力培养|

Unit3 The Art of Painting单元自测卷（译林版） （考试时间：100分钟 试卷满分：120分） 注意事项： 1．本试卷分第Ⅰ卷（选择题）和第Ⅱ卷（非选择题）两部分。答卷前，考生务必将自己的姓名、准考证号填写在答题卡上。 2．回答第Ⅰ卷时，选出每小题答案后，用2B铅笔把答题卡上对应题目的答案标号涂黑。如需改动，用橡皮擦干净后，再选涂其他答案标号。写在本试卷上无效。 3．回答第Ⅱ卷时，将答案写在答题卡上。写在本试卷上无效。 4．考试结束后，将本试卷和答题卡一并交回。 第一部分 阅读（共两节，满分50分） 第一节（共15小题；每小题2.5分，满分37.5分） 阅读下列短文，从每题所给的A、B、C、D四个选项中选出最佳选项。 A The Monet: The Immersive Experience, a captivating venture situated in the city of Liège, beckons enthusiasts to immerse themselves in the artistic realm of Claude Monet, a luminary of the French Impressionist movement and a paragon of nineteenth-century creativity. This innovative exhibition, designed to transport visitors into the very essence of Monet’s oeuvre, utilizes a cutting-edge digital format that encompasses a panoramic 360-degree display. Employing the latest in multimedia technology, the exhibition features monumental projections of Monet’s canvases, adorning the walls and floors of the venue, accompanied by an auditory symphony, the aromatic essence of flora, and narrated descriptions delivered in a multitude of languages, thereby breathing life into the artworks in an unprecedented manner. To delve deeply into the French master’s universe, patrons are ushered through a trilogy of thematic chambers, each a spectacle in its own right. These chambers not only offer a glimpse into Monet’s existence, but also bestow upon the visitors a trove of novel encounters and perspectives on his life, his artistic endeavors, and his celebrated creations. For those seeking logistical details: The exhibition commences from the month of March in the year 2024. The operational hours are as follows: On Wednesdays and Thursdays, the doors open at the tenth hour of the morning and close at the seventh hour of the evening. Fridays extend the closing time to the eighth hour of the evening, while Saturdays commence at the ninth hour of the morning and conclude at the eighth hour of the evening. Sundays follow a similar schedule, opening at the ninth hour and closing at the seventh hour, with Mondays and Tuesdays observing a closure. The anticipated duration for the visit is estimated to span between sixty to seventy-five minutes. The venue is located at Eglise Saint-Pholien, situated on Rue Saint-Pholien, with the postal code 4020 in the city of Liège. For further inquiries, it is advisable to peruse the Frequently Asked Questions section pertaining to this immersive experience. 1．How does the exhibition help visitors explore Monet’s paintings? A．It offers stages to visitors. B．It gives lectures on art. C．It uses digital technology. D．It provides language services. 2．What will visitors experience in the three rooms? A．A unique journey to Monet’s world. B．An introductory tour of painters. C．An exploration on French art. D．An encounter with Monet-inspired artworks. 3．Which of the following is a recommended visiting time? A．11: 30 am (Wed, Feb 21). B．4: 00 pm (Sun, Apr 7). C．8: 30 am (Thur, Mar 28). D．10: 00 am (Tue, Mar 19). 【答案】1．C 2．A 3．B 【导语】本文是一篇应用文，介绍了“莫奈：沉浸式体验”展览的相关情况。 1．细节理解题。根据第二段中“This innovative exhibition, designed to transport visitors into the very essence of Monet’s oeuvre, utilizes a cutting-edge digital format that encompasses a panoramic 360-degree display.(这个创新的展览旨在将参观者带入莫奈作品的精髓，采用了一种尖端的数字格式，包括全景360度显示。)”可知，展览使用了先进的数字格式，包括全景360度显示，帮助游客探索莫奈的画作，即使用了数字技术。故选C 。 2．细节理解题。根据第三段中“To delve deeply into the French master’s universe, patrons are ushered through a trilogy of thematic chambers, each a spectacle in its own right. These chambers not only offer a glimpse into Monet’s existence, but also bestow upon the visitors a trove of novel encounters and perspectives on his life, his artistic endeavors, and his celebrated creations.(为了深入了解这位法国大师的世界，顾客们被领进了三个主题展厅，每个展厅都有自己的特色。这些展室不仅提供了对莫奈生活的一瞥，而且还向游客提供了他的生活，他的艺术努力和他著名的创作的新遭遇和观点的宝库。)”可知，在三个主题展厅中，游客将体验到一次独特的旅程，深入了解莫奈的世界。故选A。 3．细节理解题。根据第五段“The exhibition commences from the month of March in the year 2024.(展览从2024年3月开始。)”和第六段“The operational hours are as follows: On Wednesdays and Thursdays, the doors open at the tenth hour of the morning and close at the seventh hour of the evening. Fridays extend the closing time to the eighth hour of the evening, while Saturdays commence at the ninth hour of the morning and conclude at the eighth hour of the evening. Sundays follow a similar schedule, opening at the ninth hour and closing at the seventh hour, with Mondays and Tuesdays observing a closure.(营业时间如下：周三和周四，在早上10点开门，晚上7点关闭。周五的闭馆时间延长到晚上8点，而周六从早上9点开始，到晚上8点钟结束。周日遵循类似的时间表，在早上9点开放，在晚上7点关闭，周一和周二休息。)”可知，展览从2024年3月开始，周一和周二休息，周三和周四营业时间为上午10点至晚上7点，周五闭馆时间延长至晚上8点，周六营业时间为上午9点至晚上8点，周日营业时间为上午9点至晚上7点。四个选项中，只有B项“4: 00 pm (Sun, Apr 7)”符合这个时间表，是参观时间。故选B。 B To see Garnett Puett’s latest sculpture at the Hammer Museum, you have to enter a dark room protected by a series of heavy curtains. Inside, glowing red light lights up a glass cage. Within the cage are three human figures with a large group of insects crawling over them. The bees move slowly over the faces of the figures. The colony of bees is so thick in places that it looks like fur (毛皮) growing on the statue－fur that moves. “Woah.” “I’ve never seen.” Visitors say as they enter the silent room. Puett has been making his “apisculptures”, using metal, beeswax (蜂蜡) and colonies of live bees, for four decades now.  It’s art with a purpose: Puett wants to remind viewers of the power and creativity of bees, whose survival is under threat around the world. “It’s sort of subconscious advertising,” Puett said. ‘‘Bees are good.” In the 1980s, when Puett’s bee sculptures first became an art world hit, people just thought he was a guy playing with bees. Actually, his use of bees came from a deep family tradition. He grew up as a fourth-generation beekeeper, whose family had worked with bees since the 1700s. His great-grandfather raised queen bees, passing the business down to his son and grandson. Puett worked on those farms as a teenager, starting with the simplest tasks. His bee farm experience has resulted in precision in the art he makes with bee colonies. In the four decades since the eco-artist withdrew somewhat from the art world, he moved to Hawaii, where he and his family have spent three decades running an organic honey farm. The work is challenging and labor intensive. That work has put him on the frontlines of dealing with threats to bee populations. Foreign species have killed numerous bees on his family’s farm, shrinking the number of surviving beehives (蜂巢) from 4,000 to about 2,000 in the past 15 years. “People used to call me up really mad saying words I can’t repeat if the hives were bothering them,” related Puett with a laugh. “But since we lost half the bee population within two years, people are more aware of their importance and are far more understanding and appreciative. That’s been the one bright side to all this difficulty.” 4．What do visitors think of Puett’s bee sculpture? A．It is controversial. B．It is revolutionary. C．It is innovative. D．It is educational. 5．Why did Puett make his “apisculptures”? A．To commercialize bee products. B．To advocate for bees through art. C．To offer a shelter for threatened bees. D．To illustrate a new method of sculpture. 6．What does the author intend to do in paragraph 4? A．Introduce the background of the bee art. B．Summarize the history of beekeeping. C．Provide bee-themed activities for kids. D．Add four generations under one roof. 7．What is the best title for the text? A．Garnett Puett: A Life Devoted to Beekeeping B．Bee Sculptures: Art with a Message for Survival C．The Threatened Bees: Call for Immediate Protection D．The Apisculptures: From Tradition to Innovation 【答案】4．C 5．B 6．A 7．B 【导语】本文主要介绍了艺术家Garnett Puett以活蜜蜂为创作元素创作雕塑作品，讲述了其创作的背景、初衷，以及蜜蜂数量锐减后公众对蜜蜂的认知转变。 【详解】4．推理判断题。根据第一段中的“Within the cage are three human figures with a large group of insects crawling over them. The bees move slowly over the faces of the figures. The colony of bees is so thick in places that it looks like fur (毛皮) growing on the statue－fur that moves.(笼子里有三个人形雕像，一大群昆虫在它们身上爬来爬去。蜜蜂在雕像的面庞上缓缓移动。在某些地方，蜂群如此密集，看起来就像雕像身上长出的会动的“毛皮”。)”以及第二段中的““Woah.” “I’ve never seen.” Visitors say as they enter the silent room.(“哇哦。”“我从没见过（这样的景象）。”游客们走进这间静谧的房间时说道。)”可知，参观者从未见过以活蜜蜂为创作元素的雕塑作品，对这种新颖的艺术形式感到惊叹，这体现出他们认为该作品极具创新性。 5．推理判断题。根据第三段中的“It’s art with a purpose: Puett wants to remind viewers of the power and creativity of bees, whose survival is under threat around the world. “It’s sort of subconscious advertising,” Puett said. ‘‘Bees are good.”(这是有目的的艺术创作：Puett希望借此提醒观众关注蜜蜂的力量与创造力，毕竟蜜蜂在全球范围内的生存正面临威胁。“这算是一种潜意识宣传，”Puett说道，“意在传达“蜜蜂是有益的”。”)”可知，Puett创作蜜蜂雕塑的核心目的是通过艺术形式倡导人们关注蜜蜂、重视蜜蜂的生存现状。 6．主旨大意题。根据第四段中的“In the 1980s, when Puett’s bee sculptures first became an art world hit, people just thought he was a guy playing with bees. Actually, his use of bees came from a deep family tradition. He grew up as a fourth-generation beekeeper, whose family had worked with bees since the 1700s. His great-grandfather raised queen bees, passing the business down to his son and grandson. Puett worked on those farms as a teenager, starting with the simplest tasks. His bee farm experience has resulted in precision in the art he makes with bee colonies.(20世纪80年代，Puett的蜜蜂雕塑首次在艺术界引起轰动，当时人们只觉得他是个摆弄蜜蜂的人。实际上，他使用蜜蜂进行创作源于深厚的家族传统。他是一名第四代养蜂人，家族自18世纪起便开始与蜜蜂打交道。他的曾祖父培育蜂王，并将这一事业传给了儿子和孙子。Puett十几岁时就在这些蜂场工作，从最简单的活计干起。他在蜂场积累的经验，使他在用蜂群创作艺术时能够做到精准无误。)”可知，作者写该段的核心目的是介绍Puett创作蜜蜂艺术的背景，解释其为何能将蜜蜂与艺术结合，让读者理解其创作的由来。 7．主旨大意题。通读全文，尤其是第三段“Puett has been making his “apisculptures”, using metal, beeswax (蜂蜡) and colonies of live bees, for four decades now. It’s art with a purpose: Puett wants to remind viewers of the power and creativity of bees, whose survival is under threat around the world. “It’s sort of subconscious advertising,” Puett said. ‘‘Bees are good.”(四十年来，Puett一直用金属、蜂蜡和活体蜂群创作他的“蜜蜂雕塑”。这是有目的的艺术创作：Puett希望借此提醒观众关注蜜蜂的力量与创造力，毕竟蜜蜂在全球范围内的生存正面临威胁。“这算是一种潜意识宣传，”Puett说道，“意在传达“蜜蜂是有益的”。”)”可知，文章主要介绍了艺术家Garnett Puett以活蜜蜂为创作元素创作雕塑作品，以及创作的背景和目的，因此本文最好的题目是B选项“Bee Sculptures: Art with a Message for Survival(蜜蜂雕塑：传递生存信息的艺术之作)”。 C For several years now, the countryside has no longer functioned merely as a picturesque counterpoint (对比物) to the city but has become an active laboratory for new relationships between the landscape and people. Trace of Land is one of the examples. Designers reinterpret the hay bale (干草捆) as spatial equipment that unfolds across the fields of Val Badia in the Italian Dolomites. Presented as part of the international open-air art event — SMACH 2026, the project transforms an agricultural object into a canopy-like (类顶篷的) structure that follows the landscape, offering places for shade, rest, and gatherings. The land art equipment is a continuous path made of unfolded hay bales. It moves with the outline of the Alpine landscape. Removed from its functional role in farming, the ha y bale becomes both sculptural and architectural, drawing attention to the relationship between human labor, tools, and the land. Often seen as typical parts of farm life, hay bales are in fact products of industrialized processes, stored and transported by machinery. In Trace of Land, this industrial form is loosened and reshaped, creating a structure that switches between lying on the ground and lifting lightly to form shaded passages. The result is a temporary canopy that strikes a balance between agricultural efficiency and the natural setting. In line with the theme of SMACH 2026, hay bales represent the reciprocal relationship between humans and the land, enhancing the dialog between people and the environment. Visitors are invited to walk along and beneath the structure, using box-shaped bales arranged as seating to pause and reflect. As time passes, the hay will naturally break down, returning to the soil and completing a cycle of use and renewal. 8．What role is given to the ha y bale in the project? A．A farming tool. B．A storage device. C．A relaxation zone. D．A cultural platform. 9．What does the underlined word “reciprocal” in paragraph 4 mean? A．Formal. B．Casual. C．Mutual. D．Distant. 10．What can we learn about the ha y bale structure from the text? A．It is a permanent architectural work for farming. B．It combines artistic value with practical functions. C．It aims to promote modern industrialized farming. D．It is designed to replace traditional agricultural tools. 11．Which column of a website might the text be taken from? A．Redesigning the countryside. B．Advocating farming techniques. C．Remodeling urban landscape. D．Talking with agriculturalists. 【答案】8．C 9．C 10．B 11．A 【导语】本文介绍了意大利一项名为“土地之痕”的乡村大地艺术项目，该项目将干草捆重新设计改造，打造出兼具艺术与实用价值的景观设施，诠释了人与土地之间的联系。 【详解】8．细节理解题。根据第二段中的“Presented as part of the international open-air art event — SMACH 2026, the project transforms an agricultural object into a canopy-like (类顶篷的) structure that follows the landscape, offering places for shade, rest, and gatherings.(该项目是2026年SMACH国际露天艺术展的组成部分，它将传统农耕物品改造为贴合自然地貌的顶篷式建筑，为人们提供遮阳、休憩与聚会的场所。)”可知，该项目将干草捆改造为可供人休闲、休憩的区域。 9．词句猜测题。 根据第四段中的“hay bales represent the reciprocal relationship between humans and the land, enhancing the dialog between people and the environment.(干草捆代表了人与土地之间reciprocal的关系，加强了人与环境之间的对话)”可知，这种关系是指人与土地相互作用、相互影响的关系。“reciprocal”意为“相互的”，与“Mutual”意思相近。 10．推理判断题。根据第三段中的“Removed from its functional role in farming, the hay bale becomes both sculptural and architectural, drawing attention to the relationship between human labor, tools, and the land.(干草捆脱离了原本的农耕用途，兼具雕塑艺术与建筑价值，让人们关注到人类劳动、生产工具与土地之间的关联。)”以及第二段提到的装置可遮阳、休憩的实用功能可知，该干草捆装置同时具备艺术价值与实用功能。 11．推理判断题。根据第一段中的“For several years now, the countryside has no longer functioned merely as a picturesque counterpoint (对比物) to the city but has become an active laboratory for new relationships between the landscape and people.(多年来，乡村不再仅仅是城市风景优美的映衬，而是成为了探索人与自然、地貌与人之间全新关系的实践场地。)”可知，全文围绕乡村艺术改造、重塑乡村风貌展开，最符合“重塑乡村”的栏目主题。 D On a backpacking trip through the Himalayas, my bruises became the truest souvenirs — scars (伤疤) carrying a story only I can tell, with no hidden costs to the planet. Perhaps that’s why my desire for typical souvenirs has faded. I now value experiences over objects. But maybe that’s just me. Two out of three Americans bring back souvenirs. When a friend hands me a fridge magnet, I feel uneasy. What does it mean to take home a piece of a place, and at what cost? Humans have always had a deep-rooted habit of collecting. According to psychologist Vanavi Madakal, looking at a souvenir can bring back happy emotions as the brain links it to positive experiences. But the drive goes beyond memory. “At the core of our actions is a desire to feel heard, seen and recognised,” she says. For many, souvenirs satisfy a need to say, “I was there!” Yet, while travellers today are more aware of their impact, souvenirs have been somewhat left behind. Take handmade scarves for example. A genuine piece can be costly, driving travellers toward cheap imitations. This creates a “vicious cycle”: frustrated artisans may turn to using low-quality materials just to feed their families. While purchasing fake goods might seem to support local sellers, the true cost is often borne by artisans who rely on time-honoured craftsmanship. So, how can you buy souvenirs that are ethical, sustainable and meaningful? “It’s not just about buying or choosing carefully, it’s about rejecting and explaining why,” says Justin Francis of Responsible Travel. One practical step is looking for labels that certify genuine local goods. Asking friends what they want can also be more meaningful than guessing. And remember: a good souvenir doesn’t have to be something physical. Join a cooking class, and you take home skills that keep giving. Ultimately, there’s no universal rule. But next time you’re grabbing a quick airport souvenir, pause and reflect. “Think back to the Silk Road — trade was personal,” says Francis. Buying directly from the maker, he believes, is “the purest form of commerce.” 12．What does the author imply by saying “my bruises became the truest souvenirs”? A．Souvenirs can harm the planet. B．Injuries are unexpected souvenirs. C．We should say no to travel souvenirs. D．Personal stories make the best souvenirs. 13．What aspect of souvenirs does paragraph 2 focus on? A．Their emotional appeal. B．Their long history. C．Their growing popularity. D．Their cultural value. 14．What is the consequence of the vicious cycle? A．Souvenirs get standardised. B．Tourism hurts the local economy. C．Traditional skills are put at risk. D．Local sellers lose their customer base. 15．What is the writing purpose of the passage? A．To promote genuine local products. B．To explore the true meaning of souvenirs. C．To compare different types of souvenirs. D．To discourage people from buying souvenirs. 【答案】12．D 13．A 14．C 15．B 【导语】作者认为亲身经历胜过实物纪念品，人们收藏纪念品源于情感与心理需求。劣质仿品损害传统工艺，旅行应秉持可持续理念，理性选购或留存无形收获。 【详解】12．推理判断题。根据第一段“On a backpacking trip through the Himalayas, my bruises became the truest souvenirs — scars (伤疤) carrying a story only I can tell, with no hidden costs to the planet.(在一次穿越喜马拉雅山脉的背包旅行中，我身上的伤痕成了最真实的纪念品——这些伤疤承载着只有我能讲述的故事，而且对地球没有任何负面影响)”可知，作者说“我的伤痕成了最真实的纪念品”这句话意味着个人经历才是最好的纪念品。 13．主旨大意题。根据第二段“Humans have always had a deep-rooted habit of collecting. According to psychologist Vanavi Madakal, looking at a souvenir can bring back happy emotions as the brain links it to positive experiences. But the drive goes beyond memory. “At the core of our actions is a desire to feel heard, seen and recognised,” she says. For many, souvenirs satisfy a need to say, “I was there!”(人类一直以来都有强烈的收集癖好。心理学家瓦纳维·马达卡尔表示，看着一件纪念品能唤起愉悦的情绪，因为大脑会将其与积极的经历联系起来。但这种驱动力远不止于记忆。“我们行为的根源在于渴望被倾听、被看见和被认可，”她说道。对许多人来说，纪念品满足了他们想要表达“我当时在那里”的需求)”可知，第二段主要论述了纪念品的情感吸引力。 14．细节理解题。根据第三段“This creates a “vicious cycle”: frustrated artisans may turn to using low-quality materials just to feed their families. While purchasing fake goods might seem to support local sellers, the true cost is often borne by artisans who rely on time-honoured craftsmanship.(这就形成了一个“恶性循环”：沮丧的工匠可能会为了养家糊口而转而使用低质量的材料。虽然购买假货看似支持了当地的卖家，但真正的代价往往由依赖传统工艺的工匠承担)”可知，这种恶性循环会让传统技艺面临危险。 15．推理判断题。根据第二段“Humans have always had a deep-rooted habit of collecting. According to psychologist Vanavi Madakal, looking at a souvenir can bring back happy emotions as the brain links it to positive experiences. But the drive goes beyond memory. “At the core of our actions is a desire to feel heard, seen and recognised,” she says. For many, souvenirs satisfy a need to say, “I was there!”(人类一直以来都有强烈的收集癖好。心理学家瓦纳维·马达卡尔表示，看着一件纪念品能唤起愉悦的情绪，因为大脑会将其与积极的经历联系起来。但这种驱动力远不止于记忆。“我们行为的根源在于渴望被倾听、被看见和被认可，”她说道。对许多人来说，纪念品满足了他们想要表达“我当时在那里”的需求)”结合文章说明了作者认为亲身经历胜过实物纪念品，人们收藏纪念品源于情感与心理需求。劣质仿品损害传统工艺，旅行应秉持可持续理念，理性选购或留存无形收获。可知，这篇文章的写作目的是探究纪念品的真正含义。 第二节（共5小题；每小题2.5分，满分12.5分） 阅读下面短文，从短文后的选项中选出可以填入空白处的最佳选项。选项中有两项为多余选项 In Jingdezhen, known as China’s capital of porcelain, a quiet change is taking place. The city now offers visitors more than just finished porcelain products. 16 The experience follows a clear process guided by skilled artisans. Visitors first roll the clay to remove the air inside and make it soft. Then, at a turntable, they shape the material with their hands and cups, bowls or small vases slowly take form. 17 After shaping, they add colors or words to the work, which is then fired in a kiln (瓷窑). Days later, it is mailed to their home, bringing a pleasant surprise. This kind of experience differs greatly from buying a finished product. A store product may be perfect. It offers little emotional connection, though. 18 Every small imperfection — an uneven edge or a fingerprint — tells a story. The waiting time adds meaning. When the package finally arrives, opening it feels like meeting an old friend. Pride and joy come from the whole-hearted dedication. 19 During the process, local artisans share knowledge of traditional techniques. Ancient skills become real and touchable. Visitors learn about the seventy-two steps of porcelain making, gaining a deep insight into this time-honored Chinese craft. Today, pottery workshops have grown into a popular highlight of Jingdezhen’s cultural tourism. 20 More importantly, they connect visitors to tradition in a meaningful way. A．The process takes patience and focus. B．It invites them to create their own china. C．It also integrates tradition into technology. D．That’s because it never bears your own touch. E．They meet people’s desire for hands-on experiences. F．But a self-made piece is heavy with unique memories. G．The experience helps build a living link to cultural roots. 【答案】16．B 17．A 18．F 19．G 20．E 【导语】主要说明了景德镇不再仅售卖瓷器，还推出亲手制瓷体验。自制瓷器饱含独特情感，游客能学习传统工艺，这类体验助力当地文旅发展，传承陶瓷文化。 16．根据上文“In Jingdezhen, known as China’s capital of porcelain, a quiet change is taking place. The city now offers visitors more than just finished porcelain products. (在被誉为“中国瓷器之都”的景德镇，正在发生着悄然的变化。如今，这座城市为游客提供的已不再仅仅是成品瓷器，还包含更多的内容。)”可知，第一段点明景德镇现在给游客提供的不只有成品瓷器，后文紧接着开始介绍游客亲自制瓷的完整流程。B选项“它邀请游客创作属于自己的瓷器”承接上文，引出下文的手作体验，符合逻辑。 17．根据上文“The experience follows a clear process guided by skilled artisans. Visitors first roll the clay to remove the air inside and make it soft. Then, at a turntable, they shape the material with their hands and cups, bowls or small vases slowly take form. (这一工艺流程由技艺精湛的工匠严格遵循既定规范进行操作。游客首先将黏土滚动，以排出内部空气并使其变软。接着，在转盘上，他们用手和杯子、碗或小花瓶来塑形材料，这些器物便逐渐成形。)”以及后文“After shaping, they add colors or words to the work, which is then fired in a kiln (瓷窑). Days later, it is mailed to their home, bringing a pleasant surprise. (经过塑形后，他们会为作品添加颜色或文字，然后将其放入窑中烧制。几天后，作品会被寄回他们的家中，带来一份愉快的惊喜。)”第二段介绍制瓷步骤，前文讲完揉泥、手动塑形，提到“杯子、碗慢慢成型”，后文讲塑形完成后的上色、烧制步骤。A选项“这个过程需要耐心和专注”承接前文“慢慢成型”的特点，自然衔接流程。 18．根据上文“This kind of experience differs greatly from buying a finished product. A store product may be perfect. It offers little emotional connection, though. (这种体验与购买成品有很大的不同。商店里的商品或许很完美，但它们缺乏情感上的联结。)”以及后文“Every small imperfection — an uneven edge or a fingerprint — tells a story. The waiting time adds meaning. When the package finally arrives, opening it feels like meeting an old friend. Pride and joy come from the whole-hearted dedication. (每一个微小的瑕疵——不平整的边缘或是指纹——都讲述着一个故事。等待的过程赋予了它意义。当包裹最终送达时，打开它就像是与一位老友重逢一般。这份喜悦和自豪源自全心全意的付出。)”可知，第三段对比成品瓷器和自制瓷器，前文说商店成品虽然完美，但几乎没有情感联结，后文提到自制瓷器的每一处小瑕疵都有故事。F选项“但自制作品充满了独有的回忆。”转折引出对自制瓷器价值的描述，衔接顺畅 。 19．根据后文“During the process, local artisans share knowledge of traditional techniques. Ancient skills become real and touchable. Visitors learn about the seventy-two steps of porcelain making, gaining a deep insight into this time-honored Chinese craft. (在这个过程中，当地的工匠们分享了传统工艺的知识。古老的技艺变得鲜活且可触摸。游客们了解了瓷器制作的七十二道工序，从而对这一历史悠久的中国工艺有了深刻的了解。)”可知，第四段讲手作体验的文化价值，后文提到当地工匠分享传统技艺，游客深入了解中国古老制瓷工艺。G选项“这种体验帮助建立和文化根源的鲜活联结。”统领全段，符合段落主旨。 20．根据上文“Today, pottery workshops have grown into a popular highlight of Jingdezhen’s cultural tourism. (如今，陶艺作坊已成为景德镇文化旅游的一大亮点。)”以及后文“More importantly, they connect visitors to tradition in a meaningful way. (更重要的是，它们以一种有意义的方式将游客与传统紧密相连。)”可知，第五段总结全文，前文说陶艺工坊已经成为景德镇文化旅游的热门亮点，后文用More importantly递进引出更深层的意义。E选项“它们满足了人们对手作体验的需求。”中主语They对应前文的pottery workshops，和后文的递进逻辑吻合。 第二部分 语言运用（共两节，满分30分） 第一节 完形填空（共15小题；每小题1分，满分15分） 阅读下面短文，从短文后各题所给的四个选项（A、B、C和D）中，选出可以填入空白处的最佳选项。 My friends and I grew up in a small neighborhood — until a big fire struck last month. Flames destroyed houses, 21 blackened walls and ash (灰) piles. Our 22 community garden was gone too. We’d never had much for 23 , and now even less — just charcoal (木炭) from burned wood and water from relief tents. Yet, seeing our neighbors stuck in 24 , we felt we had to act. We decided to 25 those simple things into vivid expressions of hope. Without professional tools, we 26 what we had. We mixed charcoal with natural colors from leftover jams. The 27 walls and cardboard from relief boxes became our canvas (画布). Our paintings became 28 in the wind or got dirty with dust, but we came back daily to 29 something new — sunrises, smiling faces, even the garden we missed. “Art is our way to 30 . We won’t give up our passion for it,” I told the group. Soon our works began to 31 neighbors of all ages. Elders would sit quietly on stones to watch; kids from the shelter would 32 , pointing at the paintings and laughing. For a brief period, everyone 33 smoke smell and rebuilding worries, lost in our art. This wasn’t just a 34 — it was how we held our upset community together. With our simple charcoal and hopeful hearts, we painted 35 back into our darkened world. 21．A．burning B．leaving C．covering D．separating 22．A．old B．spacious C．favorite D．trackless 23．A．eraser cases B．file folders C．desk lamps D．art supplies 24．A．sadness B．loneliness C．disease D．hunger 25．A．split B．expand C．transform D．bury 26．A．stood up for B．put up with C．made do with D．let go of 27．A．rough B．weak C．broken D．surviving 28．A．faint B．shaky C．blank D．bright 29．A．exchange B．create C．carve D．hang 30．A．learn B．speak C．relax D．compare 31．A．attract B．excite C．puzzle D．depress 32．A．check B．gather C．hide D．camp 33．A．abandoned B．discovered C．forgot D．recalled 34．A．dream B．pride C．deal D．hobby 35．A．light B．trust C．empathy D．memory 【答案】 21．B 22．C 23．D 24．A 25．C 26．C 27．D 28．A 29．B 30．B 31．A 32．B 33．C 34．D 35．A 【导语】文章主要讲述社区火灾后，孩子们用烧焦木炭作画，以艺术抚慰人心、重建家园希望的故事。 【详解】21．考查动词。句意：火焰吞噬了房屋，留下了熏黑墙壁和灰烬堆。A. burning燃烧；B. leaving留下；C. covering覆盖；D. separating分离。根据上文“Flames destroyed houses”可知，火焰摧毁房屋的结果是只“留下”留下黑墙和灰烬，leaving作结果状语，最符合语境。 22．考查形容词。句意：我们最喜爱的社区花园也没了。A. old老的；B. spacious宽敞的；C. favorite最喜爱的；D. trackless无路的。根据下文“even the garden we missed”可知，这是大家怀念的“最喜爱”的地方，失去它才更令人心痛，用favorite体现对花园的喜爱，符合作者的情感。 23．考查名词短语。句意：我们从来就没有多少美术用品，现在更少了——只有烧过的木头制成的木炭和救济帐篷里的水。A. eraser cases橡皮盒；B. file folders文件夹；C. desk lamps台灯；D. art supplies美术用品。根据下文“mixed charcoal with natural colors”和“paintings”可知，他们在做艺术创作，所以需要的是“美术用品”。 24．考查名词。句意：然而，看到邻居们深陷悲痛，我们觉得必须行动起来。A. sadness悲伤；B. loneliness孤独；C. disease疾病；D. hunger饥饿。根据上文“Flames destroyed houses, ____ blackened walls and ash (灰) piles.”可知，火灾导致家园尽毁，人们处于“悲伤”之中，且下文提到“upset community”，与此呼应。 25．考查动词。句意：我们决定将那些简单的东西转化为充满希望的生动表达。A. split分裂；B. expand扩张；C. transform转化；D. bury埋葬。根据下文“simple things into vivid expressions of hope”可知，此处指把简单的现有材料转变成表达希望的载体，transform...into...为固定搭配，意为“把……变成……”。 26．考查动词短语。句意：没有专业工具，我们就凑合使用手头现有的东西。A. stood up for支持；B. put up with忍受；C. made do with凑合使用；D. let go of放手。根据上文“We’d never had much for ____, and now even less — just charcoal (木炭) from burned wood and water from relief tents.”以及“Without professional tools”可知，物资匮乏只能用现有材料“凑合”。 27．考查形容词。句意：幸存下来的墙壁和救济箱的纸板成了我们的画布。A. rough粗糙的；B. weak虚弱的；C. broken破碎的；D. surviving幸存的。根据下文“walls and cardboard from relief boxes became our canvas (画布)”可知，火灾后残存下来的墙体是“幸存”下来的，符合灾后场景。 28．考查形容词。句意：我们的画作在风中褪色或沾满灰尘，但我们每天回来创作新的东西。A. faint微弱的，不清楚的；B. shaky摇晃的；C. blank空白的；D. bright明亮的。根据下文“in the wind or got dirty with dust”可知，户外风吹日晒，画作会变得模糊不清或褪色，与“got dirty”并列，都是画作被环境破坏的表现。 29．考查动词。句意同上。A. exchange交换；B. create创作；C. carve雕刻；D. hang悬挂。根据下文“something new — sunrises, smiling faces, even the garden we missed.”可知，他们每天回来“创作”新作品。 30．考查动词。句意：“艺术是我们说话的方式。我们不会放弃对它的热情，”我告诉小组。A. learn学习；B. speak说话；C. relax放松；D. compare比较。根据上文“those simple things into vivid expressions of hope”、“something new — sunrises, smiling faces, even the garden we missed”和“Art is our way to”可知，作者使用绘画来表达希望，此处指用艺术来“表达/诉说”心声，艺术是一种无声的语言。 31．考查动词。句意：很快，我们的作品开始吸引各个年龄段的邻居。A. attract吸引；B. excite使兴奋；C. puzzle使困惑；D. depress使沮丧。根据下文“Elders would sit quietly on stones to watch; kids from the shelter would ____, pointing at the paintings and laughing.”可知，作品“吸引”了大家的注意。 32．考查动词。句意：收容所的孩子会聚过来，指着画大笑。A. check检查；B. gather聚集；C. hide躲藏；D. camp露营。根据下文“pointing at the paintings and laughing.”可知，孩子们被画吸引，“聚集”过来看。 33．考查动词。句意：有那么一会儿，大家都忘记了烟味和重建的烦恼，沉浸在我们的艺术中。A. abandoned抛弃；B. discovered发现；C. forgot忘记；D. recalled回想起。根据下文“lost in our art”可知，大家沉浸在艺术中，暂时“忘记”了火灾所带来的现实的痛苦。 34．考查名词。句意：这不只是一个爱好——这是我们凝聚这个悲伤社区的方式。A. dream梦想；B. pride骄傲；C. deal交易；D. hobby爱好。根据下文“it was how we held our upset community together”可知，画画通常被视为一种个人“爱好”，此处指这次的画画这件事不止是爱好，更凝聚了整个社区，强调其更大的社会功能。 35．考查名词。句意：用简单的木炭和充满希望的心，我们在黑暗的世界里画出了光亮。A. light光亮；B. trust信任；C. empathy同理心；D. memory记忆。与“darkened world”形成鲜明对比，此处指用艺术画出“光亮”，把“光明”重新带回灾后的生活，契合上文“vivid expressions of hope”。 第二节（共10小题；每小题1. 5分, 满分15分） 阅读下面短文，在空白处填入1个适当的单词或括号内单词的正确形式。 The first Lighting Xi’an Festival, 36 combined traditional culture with modern design, was launched at Xi’an city square. It was titled Geometry of Light, as a joint effort between the management of Xi’an city square and the art platform WAVELENGTH. The festival, featuring works of international light artists, demonstrated their 37 (represent) works with site-specific creations tailored to Xi’an’s rich cultural context. It 38 (recognize) that this festival has opened a new chapter in the city’s cultural landscape. During its opening, two core topics were discussed 39 response to current urban development trends: the shared success of business and cities and the integrated innovation of art and business. Event organizers talked about their 40 (insight) into several key areas: the designing philosophy, the personalized digital art, 41 the potential interaction between technology and art. One organizer recalled, “I still remember that my colleagues and I were collaborating to brainstorm the core concept this time last year, and now it is presented to 42 public. And I feel that this journey is definitely 43 (reward).” The goal of this festival is 44 (continue) building and strengthening the cultural brand, thus further 45 (integrate) artistic beauty with public spaces to significantly boost urban cultural vitality and ultimately foster the mutual growth of culture and commerce. 【答案】 36．which 37．representative 38．is recognized 39．in 40．insights 41．and 42．the 43．rewarding 44．to continue 45．integrating 【导语】主要介绍首届万象长安光影节的举办、主题、艺术特色及其对城市文化与商业的推动作用。 【详解】36．考查定语从句。句意：首届“万象长安光影节”在西安城市广场举行，该活动将传统文化与现代设计相结合。此空引导非限制性定语从句修饰先行词“The first Lighting Xi’an Festival”，指物，关系词指代先行词在从句作主语，用关系代词which引导。 37．考查形容词。句意：这场艺术节展示了国际灯光艺术家的众多作品，其中包含了根据西安丰富文化背景量身定制的具有场地特性的独特创作，充分展现了这些艺术家的代表作。修饰名词works用形容词representative，作定语。 38．考查动词时态、语态。句意：人们公认，这个节日为这座城市的文化风貌开辟了一个崭新的篇章。recognize在主句中作谓语动词，句中It作形式主语，that引导名词性从句作真正主语，与动词recognize构成被动关系，陈述当前事实，用一般现在时，此空填is recognized，构成固定句型It is recognized that...，表示“人们公认……”。 39．考查介词。句意：在开幕仪式上，针对当前的城市发展趋势，讨论了两个核心议题：企业与城市之间的协同发展以及艺术与商业的深度融合创新。固定短语in response to表示“作为对……的回应；响应”。 40．考查名词的数。句意：活动组织者们就以下几个关键领域分享了他们的见解：设计理念、个性化数字艺术以及技术与艺术之间的潜在互动。insight表示“见解、看法”，为可数名词，结合空前their可知，此处用复数形式insights。 41．考查连词。句意：活动组织者们就以下几个关键领域分享了他们的见解：设计理念、个性化数字艺术以及技术与艺术之间的潜在互动。此处连接名词短语the designing philosophy, the personalized digital art和the potential interaction between technology and art，表并列，用连词and。 42．考查冠词。句意：一位组织者回忆道：“我还记得去年这个时候，我和同事们正在一起集思广益，探讨这次的核心理念，而如今它已经向公众进行了展示。”短语the public表示“公众、大众”，作to宾语。 43．考查形容词。句意：而且我觉得这段旅程绝对是值得的。作表语，用形容词rewarding“值得的，有益的，令人有所收获的”。 44．考查非谓语动词。句意：本次节日的宗旨在于持续打造并强化这一文化品牌，从而将艺术之美与公共空间更好地融合在一起，从而显著提升城市的文化活力，并最终促进文化与商业的相互发展。说明主语The goal的内容，用不定式to continue作表语。 45．考查非谓语动词。句意：本次节日的宗旨在于持续打造并强化这一文化品牌，从而将艺术之美与公共空间更好地融合在一起，从而显著提升城市的文化活力，并最终促进文化与商业的相互发展。句中已有谓语 is，thus后接非谓语表自然而然的结果，前面陈述的内容“continue building and strengthening the cultural brand”与动词 integrate是逻辑上的主动关系，故用现在分词integrating作状语。 第三部分 写作（共两节, 满分40分） 第一节（满分15分） 46．假定你是李华，你的英国朋友Peter计划参观徐州博物馆，他来信请你推荐一件你喜欢的展品。请你给他回复邮件，结合外观、工艺/价值等，推荐这件汉代的金缕玉衣（Jade Burial Suit with Gold Threads）。 生词：jade pieces玉片    gold threads金丝 注意：1．词数80左右；2．开头和结尾已给出，不计入总词数。 Dear Peter, Glad to hear you’re visiting Xuzhou Museum! _______________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________ Yours, Li Hua 【答案1】 Dear Peter, Glad to hear you’re visiting Xuzhou Museum! My top recommendation is the Han Dynasty Jade Burial Suit with Gold Threads. This suit is made of thousands of fine jade pieces connected by delicate gold threads, in the shape of a human body. It was used to bury nobles in ancient times, who believe it can preserve their bodies from decay, symbolizing their high status. What makes it stand out is that its making required superb craft skills, showing the great wisdom of ancient Chinese craftsmen. I’m sure this amazing cultural relic will leave you a deep impression! I hope you have a wonderful and memorable trip! Yours, Li Hua 【答案2】 Dear Peter, Glad to hear you’re visiting Xuzhou Museum! I’d like to recommend the Jade Burial Suit with Gold Threads from the Han Dynasty to you. Shaped like a complete human figure, the suit is crafted from thousands of well-polished jade pieces, which are carefully linked by delicate gold threads. As a rare burial object, it once represented the supreme status of its owner in ancient times. What makes it shine is its superb craftsmanship, perfectly reflecting the wisdom of the Han artisans. This precious relic is a true treasure, and you’ll surely be fascinated by it! Yours, Li Hua 【导语】本篇书面表达要求考生以李华身份回信，向Peter推荐徐州博物馆汉代金缕玉衣，并介绍其外观、工艺与历史价值。 【详解】1.词汇积累 精美的：fine → exquisite 腐烂：decay → rot 象征：symbolize → represent 杰出的：superb → outstanding 2.句式拓展 简单句变复合句 原句：This suit is made of thousands of fine jade pieces connected by delicate gold threads, in the shape of a human body. 拓展句：This suit is made of thousands of fine jade pieces which are connected by delicate gold threads, in the shape of a human body. 【点睛】【高分句型1】It was used to bury nobles in ancient times, who believe it can preserve their bodies from decay, symbolizing their high status.(运用了who引导的非限制性定语从句和现在分词作状语) 【高分句型2】What makes it stand out is that its making required superb craft skills, showing the great wisdom of ancient Chinese craftsmen.(运用了what引导的主语从句，that引导的表语从句和现在分词作状语) 第二节（满分25分） 47．阅读下面材料，根据其内容和所给段落开头语续写两段，使之构成一篇完整的短文。 In the bustling art studio of St. George’s High, Arthur and Emily were putting the final touches on their entry for the national “Heritage Reimagined” competition. Arthur, a sixth-former with a deep passion for Eastern culture, had spent months mastering the delicate art of Chinese ink wash painting, or Shui-mo. His piece, titled “The Spirit of the Pine,” was a masterpiece of subtlety, capturing the ancient tree’s resilience through varying shades of grey and black ink on absorbent Xuan paper. Emily, a coding prodigy with a flair for digital media, proposed a bold idea: to use AI to create an interactive layer that would respond to the viewer’s movements. They saw this as the perfect collaboration — melding Arthur’s reverence for tradition with Emily’s drive for innovation. They believed this fusion would not only preserve the cultural heritage but also make it accessible to a modern audience. For weeks, they worked in harmony. Arthur would paint, explaining the essence of Qi Yun (vital energy) in every brushstroke, while Emily took notes, designing algorithms to mimic the flow of energy. However, as the submission deadline loomed closer, the tension began to rise. Emily, worried that the static painting wouldn’t grab the judges’ attention in a room full of holograms, decided to take creative control. Without consulting Arthur, she ran his original painting through a neural style-transfer program, overlaying it with pulsating geometric patterns and loud electronic sound effects. When Arthur returned from a weekend trip to find the transformation, he was devastated. “Emily, what have you done?” Arthur whispered, his face pale as he stared at the screen. “You’ve destroyed the balance. The pine tree is supposed to be tranquil, not screaming with neon lights. This isn’t art; it’s a glitch.” Emily crossed her arms defensively. “Don’t you see, Arthur? Your pine tree is beautiful, but it’s silent. I’ve given it a voice! We need to stand out, not fade into the background.” Arthur looked at the chaotic screen, then at his paint-stained hands, feeling a rift opening not just in their project, but in their friendship. The room was thick with an awkward silence, broken only by the hum of the computer fan. 注意： 1.续写词数应为150左右。 2.续写部分分为两段，每段的开头语已给出。 Paragraph 1: Arthur took a deep breath and suggested they step outside for fresh air. _________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________ Paragraph 2: As they returned to the classroom, a new idea began to form in their minds. _________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________ 【答案】 Paragraph 1: Arthur took a deep breath and suggested they step outside for fresh air, because the tense atmosphere inside made it hard for them to talk calmly. As they walked slowly down the hallway, he told Emily that what really hurt him was not the AI effects themselves, but the fact that she had changed his painting without discussing it with him first. He explained that ink wash painting, which focuses on quietness and inner peace, should never be filled with noisy lights and loud sounds. If Emily had thought about his feelings, she would have realized that flashy styles are totally unsuitable for this work. Standing there quietly, Emily lowered her head, feeling sorry for being so impulsive. Paragraph 2: As they returned to the classroom, a new idea began to form in their minds. They agreed that they would keep Arthur’s original ink painting as the core, and add some gentle AI elements that matched its calm style. This not only kept the traditional charm but also made the work more attractive. Had they kept arguing, they would have ruined both the project and their friendship. Looking at the painting again, they both smiled, knowing that only by respecting each other’s ideas could they create a perfect work together. 【导语】本文讲述了热爱东方水墨文化的Arthur与擅长数码编程的Emily联手创作参赛作品，计划将传统中国水墨画与人工智能创新形式相结合，助力传统文化焕发新生。临近截稿时，Emily为博取评委关注，擅自用AI改动Arthur精心创作的水墨松图，破坏了画作原本静谧雅致的意境。二人因传统艺术与现代创新的理念分歧产生激烈矛盾，不仅合作项目陷入危机，深厚的友谊也出现了裂痕。 【详解】1.段落续写 ①由第一段首句内容可知，第一段可描写Arthur向Emily解释自己感到难过的原因以及听完解释后Emily感到惭愧。 ②由第二段首句内容可知，第二段可描写二人达成共识后对画作进行修改以及他们的感悟。 2.续写线索：Arthur解释难过原因——Emily感到惭愧——对画作进行修改——感悟 3.词汇激活 行为类 ①解释：explain/account for ②集中精力于：focus on/concentrate on 情绪类 ①温柔的：gentle/tender ②冲动的：impulsive/impetuous 【点睛】[高分句型1] If Emily had thought about his feelings, she would have realized that flashy styles are totally unsuitable for this work.（运用了虚拟语气，表示对过去事实的虚拟，that引导宾语从句） [高分句型2] As they walked slowly down the hallway, he told Emily that what really hurt him was not the AI effects themselves, but the fact that she had changed his painting without discussing it with him first.（运用了as引导时间状语从句，第一个that引导宾语从句，what引导主语从句，第二个that引导同位语从句） 原创精品资源学科网独家享有版权，侵权必究！1 学科网（北京）股份有限公司12 / 14 学科网（北京）股份有限公司 学科网（北京）股份有限公司 $ Unit3 The Art of Painting单元自测卷（译林版） （考试时间：100分钟 试卷满分：120分） 注意事项： 1．本试卷分第Ⅰ卷（选择题）和第Ⅱ卷（非选择题）两部分。答卷前，考生务必将自己的姓名、准考证号填写在答题卡上。 2．回答第Ⅰ卷时，选出每小题答案后，用2B铅笔把答题卡上对应题目的答案标号涂黑。如需改动，用橡皮擦干净后，再选涂其他答案标号。写在本试卷上无效。 3．回答第Ⅱ卷时，将答案写在答题卡上。写在本试卷上无效。 4．考试结束后，将本试卷和答题卡一并交回。 第一部分 阅读（共两节，满分50分） 第一节（共15小题；每小题2.5分，满分37.5分） 阅读下列短文，从每题所给的A、B、C、D四个选项中选出最佳选项。 A The Monet: The Immersive Experience, a captivating venture situated in the city of Liège, beckons enthusiasts to immerse themselves in the artistic realm of Claude Monet, a luminary of the French Impressionist movement and a paragon of nineteenth-century creativity. This innovative exhibition, designed to transport visitors into the very essence of Monet’s oeuvre, utilizes a cutting-edge digital format that encompasses a panoramic 360-degree display. Employing the latest in multimedia technology, the exhibition features monumental projections of Monet’s canvases, adorning the walls and floors of the venue, accompanied by an auditory symphony, the aromatic essence of flora, and narrated descriptions delivered in a multitude of languages, thereby breathing life into the artworks in an unprecedented manner. To delve deeply into the French master’s universe, patrons are ushered through a trilogy of thematic chambers, each a spectacle in its own right. These chambers not only offer a glimpse into Monet’s existence, but also bestow upon the visitors a trove of novel encounters and perspectives on his life, his artistic endeavors, and his celebrated creations. For those seeking logistical details: The exhibition commences from the month of March in the year 2024. The operational hours are as follows: On Wednesdays and Thursdays, the doors open at the tenth hour of the morning and close at the seventh hour of the evening. Fridays extend the closing time to the eighth hour of the evening, while Saturdays commence at the ninth hour of the morning and conclude at the eighth hour of the evening. Sundays follow a similar schedule, opening at the ninth hour and closing at the seventh hour, with Mondays and Tuesdays observing a closure. The anticipated duration for the visit is estimated to span between sixty to seventy-five minutes. The venue is located at Eglise Saint-Pholien, situated on Rue Saint-Pholien, with the postal code 4020 in the city of Liège. For further inquiries, it is advisable to peruse the Frequently Asked Questions section pertaining to this immersive experience. 1．How does the exhibition help visitors explore Monet’s paintings? A．It offers stages to visitors. B．It gives lectures on art. C．It uses digital technology. D．It provides language services. 2．What will visitors experience in the three rooms? A．A unique journey to Monet’s world. B．An introductory tour of painters. C．An exploration on French art. D．An encounter with Monet-inspired artworks. 3．Which of the following is a recommended visiting time? A．11: 30 am (Wed, Feb 21). B．4: 00 pm (Sun, Apr 7). C．8: 30 am (Thur, Mar 28). D．10: 00 am (Tue, Mar 19). B To see Garnett Puett’s latest sculpture at the Hammer Museum, you have to enter a dark room protected by a series of heavy curtains. Inside, glowing red light lights up a glass cage. Within the cage are three human figures with a large group of insects crawling over them. The bees move slowly over the faces of the figures. The colony of bees is so thick in places that it looks like fur (毛皮) growing on the statue－fur that moves. “Woah.” “I’ve never seen.” Visitors say as they enter the silent room. Puett has been making his “apisculptures”, using metal, beeswax (蜂蜡) and colonies of live bees, for four decades now.  It’s art with a purpose: Puett wants to remind viewers of the power and creativity of bees, whose survival is under threat around the world. “It’s sort of subconscious advertising,” Puett said. ‘‘Bees are good.” In the 1980s, when Puett’s bee sculptures first became an art world hit, people just thought he was a guy playing with bees. Actually, his use of bees came from a deep family tradition. He grew up as a fourth-generation beekeeper, whose family had worked with bees since the 1700s. His great-grandfather raised queen bees, passing the business down to his son and grandson. Puett worked on those farms as a teenager, starting with the simplest tasks. His bee farm experience has resulted in precision in the art he makes with bee colonies. In the four decades since the eco-artist withdrew somewhat from the art world, he moved to Hawaii, where he and his family have spent three decades running an organic honey farm. The work is challenging and labor intensive. That work has put him on the frontlines of dealing with threats to bee populations. Foreign species have killed numerous bees on his family’s farm, shrinking the number of surviving beehives (蜂巢) from 4,000 to about 2,000 in the past 15 years. “People used to call me up really mad saying words I can’t repeat if the hives were bothering them,” related Puett with a laugh. “But since we lost half the bee population within two years, people are more aware of their importance and are far more understanding and appreciative. That’s been the one bright side to all this difficulty.” 4．What do visitors think of Puett’s bee sculpture? A．It is controversial. B．It is revolutionary. C．It is innovative. D．It is educational. 5．Why did Puett make his “apisculptures”? A．To commercialize bee products. B．To advocate for bees through art. C．To offer a shelter for threatened bees. D．To illustrate a new method of sculpture. 6．What does the author intend to do in paragraph 4? A．Introduce the background of the bee art. B．Summarize the history of beekeeping. C．Provide bee-themed activities for kids. D．Add four generations under one roof. 7．What is the best title for the text? A．Garnett Puett: A Life Devoted to Beekeeping B．Bee Sculptures: Art with a Message for Survival C．The Threatened Bees: Call for Immediate Protection D．The Apisculptures: From Tradition to Innovation C For several years now, the countryside has no longer functioned merely as a picturesque counterpoint (对比物) to the city but has become an active laboratory for new relationships between the landscape and people. Trace of Land is one of the examples. Designers reinterpret the hay bale (干草捆) as spatial equipment that unfolds across the fields of Val Badia in the Italian Dolomites. Presented as part of the international open-air art event — SMACH 2026, the project transforms an agricultural object into a canopy-like (类顶篷的) structure that follows the landscape, offering places for shade, rest, and gatherings. The land art equipment is a continuous path made of unfolded hay bales. It moves with the outline of the Alpine landscape. Removed from its functional role in farming, the ha y bale becomes both sculptural and architectural, drawing attention to the relationship between human labor, tools, and the land. Often seen as typical parts of farm life, hay bales are in fact products of industrialized processes, stored and transported by machinery. In Trace of Land, this industrial form is loosened and reshaped, creating a structure that switches between lying on the ground and lifting lightly to form shaded passages. The result is a temporary canopy that strikes a balance between agricultural efficiency and the natural setting. In line with the theme of SMACH 2026, hay bales represent the reciprocal relationship between humans and the land, enhancing the dialog between people and the environment. Visitors are invited to walk along and beneath the structure, using box-shaped bales arranged as seating to pause and reflect. As time passes, the hay will naturally break down, returning to the soil and completing a cycle of use and renewal. 8．What role is given to the ha y bale in the project? A．A farming tool. B．A storage device. C．A relaxation zone. D．A cultural platform. 9．What does the underlined word “reciprocal” in paragraph 4 mean? A．Formal. B．Casual. C．Mutual. D．Distant. 10．What can we learn about the ha y bale structure from the text? A．It is a permanent architectural work for farming. B．It combines artistic value with practical functions. C．It aims to promote modern industrialized farming. D．It is designed to replace traditional agricultural tools. 11．Which column of a website might the text be taken from? A．Redesigning the countryside. B．Advocating farming techniques. C．Remodeling urban landscape. D．Talking with agriculturalists. D On a backpacking trip through the Himalayas, my bruises became the truest souvenirs — scars (伤疤) carrying a story only I can tell, with no hidden costs to the planet. Perhaps that’s why my desire for typical souvenirs has faded. I now value experiences over objects. But maybe that’s just me. Two out of three Americans bring back souvenirs. When a friend hands me a fridge magnet, I feel uneasy. What does it mean to take home a piece of a place, and at what cost? Humans have always had a deep-rooted habit of collecting. According to psychologist Vanavi Madakal, looking at a souvenir can bring back happy emotions as the brain links it to positive experiences. But the drive goes beyond memory. “At the core of our actions is a desire to feel heard, seen and recognised,” she says. For many, souvenirs satisfy a need to say, “I was there!” Yet, while travellers today are more aware of their impact, souvenirs have been somewhat left behind. Take handmade scarves for example. A genuine piece can be costly, driving travellers toward cheap imitations. This creates a “vicious cycle”: frustrated artisans may turn to using low-quality materials just to feed their families. While purchasing fake goods might seem to support local sellers, the true cost is often borne by artisans who rely on time-honoured craftsmanship. So, how can you buy souvenirs that are ethical, sustainable and meaningful? “It’s not just about buying or choosing carefully, it’s about rejecting and explaining why,” says Justin Francis of Responsible Travel. One practical step is looking for labels that certify genuine local goods. Asking friends what they want can also be more meaningful than guessing. And remember: a good souvenir doesn’t have to be something physical. Join a cooking class, and you take home skills that keep giving. Ultimately, there’s no universal rule. But next time you’re grabbing a quick airport souvenir, pause and reflect. “Think back to the Silk Road — trade was personal,” says Francis. Buying directly from the maker, he believes, is “the purest form of commerce.” 12．What does the author imply by saying “my bruises became the truest souvenirs”? A．Souvenirs can harm the planet. B．Injuries are unexpected souvenirs. C．We should say no to travel souvenirs. D．Personal stories make the best souvenirs. 13．What aspect of souvenirs does paragraph 2 focus on? A．Their emotional appeal. B．Their long history. C．Their growing popularity. D．Their cultural value. 14．What is the consequence of the vicious cycle? A．Souvenirs get standardised. B．Tourism hurts the local economy. C．Traditional skills are put at risk. D．Local sellers lose their customer base. 15．What is the writing purpose of the passage? A．To promote genuine local products. B．To explore the true meaning of souvenirs. C．To compare different types of souvenirs. D．To discourage people from buying souvenirs. 第二节（共5小题；每小题2.5分，满分12.5分） 阅读下面短文，从短文后的选项中选出可以填入空白处的最佳选项。选项中有两项为多余选项 In Jingdezhen, known as China’s capital of porcelain, a quiet change is taking place. The city now offers visitors more than just finished porcelain products. 16 The experience follows a clear process guided by skilled artisans. Visitors first roll the clay to remove the air inside and make it soft. Then, at a turntable, they shape the material with their hands and cups, bowls or small vases slowly take form. 17 After shaping, they add colors or words to the work, which is then fired in a kiln (瓷窑). Days later, it is mailed to their home, bringing a pleasant surprise. This kind of experience differs greatly from buying a finished product. A store product may be perfect. It offers little emotional connection, though. 18 Every small imperfection — an uneven edge or a fingerprint — tells a story. The waiting time adds meaning. When the package finally arrives, opening it feels like meeting an old friend. Pride and joy come from the whole-hearted dedication. 19 During the process, local artisans share knowledge of traditional techniques. Ancient skills become real and touchable. Visitors learn about the seventy-two steps of porcelain making, gaining a deep insight into this time-honored Chinese craft. Today, pottery workshops have grown into a popular highlight of Jingdezhen’s cultural tourism. 20 More importantly, they connect visitors to tradition in a meaningful way. A．The process takes patience and focus. B．It invites them to create their own china. C．It also integrates tradition into technology. D．That’s because it never bears your own touch. E．They meet people’s desire for hands-on experiences. F．But a self-made piece is heavy with unique memories. G．The experience helps build a living link to cultural roots. 第二部分 语言运用（共两节，满分30分） 第一节 完形填空（共15小题；每小题1分，满分15分） 阅读下面短文，从短文后各题所给的四个选项（A、B、C和D）中，选出可以填入空白处的最佳选项。 My friends and I grew up in a small neighborhood — until a big fire struck last month. Flames destroyed houses, 21 blackened walls and ash (灰) piles. Our 22 community garden was gone too. We’d never had much for 23 , and now even less — just charcoal (木炭) from burned wood and water from relief tents. Yet, seeing our neighbors stuck in 24 , we felt we had to act. We decided to 25 those simple things into vivid expressions of hope. Without professional tools, we 26 what we had. We mixed charcoal with natural colors from leftover jams. The 27 walls and cardboard from relief boxes became our canvas (画布). Our paintings became 28 in the wind or got dirty with dust, but we came back daily to 29 something new — sunrises, smiling faces, even the garden we missed. “Art is our way to 30 . We won’t give up our passion for it,” I told the group. Soon our works began to 31 neighbors of all ages. Elders would sit quietly on stones to watch; kids from the shelter would 32 , pointing at the paintings and laughing. For a brief period, everyone 33 smoke smell and rebuilding worries, lost in our art. This wasn’t just a 34 — it was how we held our upset community together. With our simple charcoal and hopeful hearts, we painted 35 back into our darkened world. 21．A．burning B．leaving C．covering D．separating 22．A．old B．spacious C．favorite D．trackless 23．A．eraser cases B．file folders C．desk lamps D．art supplies 24．A．sadness B．loneliness C．disease D．hunger 25．A．split B．expand C．transform D．bury 26．A．stood up for B．put up with C．made do with D．let go of 27．A．rough B．weak C．broken D．surviving 28．A．faint B．shaky C．blank D．bright 29．A．exchange B．create C．carve D．hang 30．A．learn B．speak C．relax D．compare 31．A．attract B．excite C．puzzle D．depress 32．A．check B．gather C．hide D．camp 33．A．abandoned B．discovered C．forgot D．recalled 34．A．dream B．pride C．deal D．hobby 35．A．light B．trust C．empathy D．memory 第二节（共10小题；每小题1. 5分, 满分15分） 阅读下面短文，在空白处填入1个适当的单词或括号内单词的正确形式。 The first Lighting Xi’an Festival, 36 combined traditional culture with modern design, was launched at Xi’an city square. It was titled Geometry of Light, as a joint effort between the management of Xi’an city square and the art platform WAVELENGTH. The festival, featuring works of international light artists, demonstrated their 37 (represent) works with site-specific creations tailored to Xi’an’s rich cultural context. It 38 (recognize) that this festival has opened a new chapter in the city’s cultural landscape. During its opening, two core topics were discussed 39 response to current urban development trends: the shared success of business and cities and the integrated innovation of art and business. Event organizers talked about their 40 (insight) into several key areas: the designing philosophy, the personalized digital art, 41 the potential interaction between technology and art. One organizer recalled, “I still remember that my colleagues and I were collaborating to brainstorm the core concept this time last year, and now it is presented to 42 public. And I feel that this journey is definitely 43 (reward).” The goal of this festival is 44 (continue) building and strengthening the cultural brand, thus further 45 (integrate) artistic beauty with public spaces to significantly boost urban cultural vitality and ultimately foster the mutual growth of culture and commerce. 第三部分 写作（共两节, 满分40分） 第一节（满分15分） 46．假定你是李华，你的英国朋友Peter计划参观徐州博物馆，他来信请你推荐一件你喜欢的展品。请你给他回复邮件，结合外观、工艺/价值等，推荐这件汉代的金缕玉衣（Jade Burial Suit with Gold Threads）。 生词：jade pieces玉片    gold threads金丝 注意：1．词数80左右；2．开头和结尾已给出，不计入总词数。 Dear Peter, Glad to hear you’re visiting Xuzhou Museum! _______________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________ Yours, Li Hua 第二节（满分25分） 47．阅读下面材料，根据其内容和所给段落开头语续写两段，使之构成一篇完整的短文。 In the bustling art studio of St. George’s High, Arthur and Emily were putting the final touches on their entry for the national “Heritage Reimagined” competition. Arthur, a sixth-former with a deep passion for Eastern culture, had spent months mastering the delicate art of Chinese ink wash painting, or Shui-mo. His piece, titled “The Spirit of the Pine,” was a masterpiece of subtlety, capturing the ancient tree’s resilience through varying shades of grey and black ink on absorbent Xuan paper. Emily, a coding prodigy with a flair for digital media, proposed a bold idea: to use AI to create an interactive layer that would respond to the viewer’s movements. They saw this as the perfect collaboration — melding Arthur’s reverence for tradition with Emily’s drive for innovation. They believed this fusion would not only preserve the cultural heritage but also make it accessible to a modern audience. For weeks, they worked in harmony. Arthur would paint, explaining the essence of Qi Yun (vital energy) in every brushstroke, while Emily took notes, designing algorithms to mimic the flow of energy. However, as the submission deadline loomed closer, the tension began to rise. Emily, worried that the static painting wouldn’t grab the judges’ attention in a room full of holograms, decided to take creative control. Without consulting Arthur, she ran his original painting through a neural style-transfer program, overlaying it with pulsating geometric patterns and loud electronic sound effects. When Arthur returned from a weekend trip to find the transformation, he was devastated. “Emily, what have you done?” Arthur whispered, his face pale as he stared at the screen. “You’ve destroyed the balance. The pine tree is supposed to be tranquil, not screaming with neon lights. This isn’t art; it’s a glitch.” Emily crossed her arms defensively. “Don’t you see, Arthur? Your pine tree is beautiful, but it’s silent. I’ve given it a voice! We need to stand out, not fade into the background.” Arthur looked at the chaotic screen, then at his paint-stained hands, feeling a rift opening not just in their project, but in their friendship. The room was thick with an awkward silence, broken only by the hum of the computer fan. 注意： 1.续写词数应为150左右。 2.续写部分分为两段，每段的开头语已给出。 Paragraph 1: Arthur took a deep breath and suggested they step outside for fresh air. _________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________ Paragraph 2: As they returned to the classroom, a new idea began to form in their minds. _________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________ 原创精品资源学科网独家享有版权，侵权必究！1 学科网（北京）股份有限公司12 / 14 学科网（北京）股份有限公司 学科网（北京）股份有限公司 $