AncientEgyptianInordertounderstandancientEgyptianart,itisvitaltoknowasmuchaspossibleoftheeliteEgyptians'viewoftheworldandthefunctionsandcontextsoftheartproducedforthem.WithoutthisknowledgewecanappreciateonlytheformalcontentofEgyptianart,andwewillfailtounderstandwhyitwasproducedortheconceptsthatshapeditandcausedittoadoptitsdistinctiveforms.Infact,alackofunderstandingconcerningthepurposesofEgyptianarthasoftenledittobecomparedunfavorablywiththeartofothercultures:WhydidtheEgyptiansnotdevelopsculptureinwhichthebodyturnedandtwistedthroughspacelikeclassicalGreekstatuary?Whydothesseemtogetleftandrightconfused?AndwhydidtheynotdiscoverthegeometricasEuropeansdidintheRenaissance?TheanswertosuchquestionshasnothingtodowithalackofskillorimaginationonthepartofEgyptiansandeverythingtodowiththepurposesforwhichtheywereproducingtheirart.Themajorityofthree-dimensionalrepresentations,whetherstanding,seated,orkneeling,exhibitwhatiscalledfrontality:theyfacestraightahead,neithertwistingnorturning.Whensuchstatuesareviewedinisolation,outoftheiroriginalcontextandwithoutknowledgeoftheirfunction,itiseasytocriticizethemfortheirrigidattitudesthatremainedunchangedforthreethousandyears.Frontalityis,however,directlyrelatedtothefunctionsofEgyptianstatuaryandthecontextsinwhichthestatuesweresetup.Statueswerecreatednotfortheirdecorativeeffectbuttoyaprimaryroleinthecultsofthegods,theking,andthedead.Theyweredesignedtobeputinceswherethesebeingscouldmanifestthemselvesinordertobetherecipientsofritualactions.Thusitmadesensetoshowthestatuelookingaheadatwhatwashappeninginfrontofit,sothatthelivingperformeroftheritualcouldinctwiththedivineordeceasedrecipient.Veryoftensuchstatueswereenclosedinrectangularshrinesorwallnicheswhoseonlyopeningwasatthefront,makingitnaturalforthestatuetodisyfrontality.Otherstatuesweredesignedtobecedwithinanarchitecturalsetting,forinstance,infrontofthemonumentalentrancegatewaystotemplesknownaspylons,orinpillaredcourts,wheretheywouldbecedagainstorbetweenpillars:theirfrontalityworkedperfectlywithinthearchitecturalcontext.Statueswerenormallymadeofstone,wood,ormetal.Stonestatueswereworkedfromsinglerectangularblocksofmaterialandretainedthecompactnessoftheoriginalshape.Thestonebetweenthearmsandthebodyandbetweenthelegsinstandingfiguresorthelegsandtheseatinseatedoneswasnotnormallycutaway.Fromapracticalaspectthisprotectedthefiguresagainstbreakageandpsychologicallygivestheimagesasenseofstrengthandpower,usuallyenhancedbyasupportingbackpillar.Bycontrast,woodenstatueswerecarvedfromseveralpiecesofwoodthatwerepeggedtogethertoformthefinishedwork,andmetalstatueswereeithermadebywrapsheetmetalaroundawoodencoreorcastbythelostwaxprocess.Thearmscouldbeheldawayfromthebodyandcarryseparateitemsintheirhands;thereisnobackpillar.Theeffectisaltogetherlighterandrthanthatachievedinstone,butbecausebothperformthesamefunction,formalwoodenandmetalstatuesstilldisyfrontality.Apartfromstatuesrepresentingdeities,kings,andnamedmembersoftheelitethatcanbecalledformal,thereisanothergroupofthree-dimensionalrepresentationsthatdepictsgenericfigures,frequentlyservants,fromthenonelitepopulation.Thefunctionoftheseisquitedifferent.Manyaremadetobeputinthetombsoftheeliteinordertoservethetombownersintheafterlife.Unlikeformalstatuesthatarelimitedtostaticposesofstanding,sitting,andkneeling,thesefiguresdepictawiderangeofactions,suchasgrindinggrain,bakingbread,producingpots,andmakingmusic,andtheyareshowninappropriateposes,bendingandsquattingastheycarryouttheirtasks.Paragraph1:InordertounderstandancientEgyptianart,itisvitaltoknowasmuchaspossibleoftheeliteEgyptians'viewoftheworldandthefunctionsandcontextsoftheartproducedforthem.WithoutthisknowledgewecanappreciateonlytheformalcontentofEgyptianart,andwewillfailtounderstandwhyitwasproducedortheconceptsthatshapeditandcausedittoadoptitsdistinctiveforms.Infact,alackofunderstandingconcerningthepurposesofEgyptianarthasoftenledittobecomparedunfavorablywiththeartofothercultures:WhydidtheEgyptiansnotdevelopsculptureinwhichthebodyturnedandtwistedthroughspacelikeclassicalGreekstatuary?Whydothesseemtogetleftandrightconfused?AndwhydidtheynotdiscoverthegeometricasEuropeansdidintheRenaissance?TheanswertosuchquestionshasnothingtodowithalackofskillorimaginationonthepartofEgyptiansandeverythingtodowiththepurposesforwhichtheywereproducingtheirart.Theword“vital”inthepassageisclosestinmeaningParagraph1suggeststhatonereasonEgyptianartisviewedlessfavorablythanotherartisthatEgyptianartlacksarealisticsenseofhumanbodyafocusondistinctiveformsofvaryingtheoriginalityofEuropeanthecapacitytoshowthehumanbodyinInparagraph1,theauthormentionsallofthefollowingasnecessaryinappreciatingEgyptianartEXCEPTanunderstandingofthereasonswhytheartwasthenatureofaristocraticEgyptiantheinfluencesofEgyptianartonlaterartsuchasclassicalGreekhowtheartwasParagraph2:Themajorityofthree-dimensionalrepresentations,whetherstanding,seated,orkneeling,exhibitwhatiscalledfrontality:theyfacestraightahead,neithertwistingnorturning.Whensuchstatuesareviewedinisolation,outoftheiroriginalcontextandwithoutknowledgeoftheirfunction,itiseasytocriticizethemfortheirrigidattitudesthatremainedunchangedforthreethousandyears.Frontalityis,however,directlyrelatedtothefunctionsofEgyptianstatuaryandthecontextsinwhichthestatuesweresetup.Statueswerecreatednotfortheirdecorativeeffectbuttoyaprimaryroleinthecultsofthegods,theking,andthedead.Theyweredesignedtobeputinceswherethesebeingscouldmanifestthemselvesinordertobetherecipientsofritualactions.Thusitmadesensetoshowthestatuelookingaheadatwhatwashappeninginfrontofit,sothatthelivingperformeroftheritualcouldinctwiththedivineordeceasedrecipient.Veryoftensuchstatueswereenclosedinrectangularshrinesorwallnicheswhoseonlyopeningwasatthefront,makingitnaturalforthestatuetodisyfrontality.Otherstatuesweredesignedtobecedwithinanarchitecturalsetting,forinstance,infrontofthemonumentalentrancegatewaystotemplesknownaspylons,orinpillaredcourts,wheretheywouldbecedagainstorbetweenpillars:theirfrontalityworkedperfectlywithinthearchitecturalcontext.Accordingtoparagraph2,whyareEgyptianstatuesportrayedTocreateapsychologicaleffectofdistanceandToallowthemtofulfilltheirimportantroleinceremoniesofEgyptianToprovideacontrasttostatueswithadecorativeTosuggesttherigid,unchangingEgyptianphilosophicalTheword“context”inthepassageisclosestinmeaningTheauthormentions“anarchitecturalsetting”inthepassageinordersuggestthatarchitecturewasasimportantassculpturetoEgyptianofferafurtherexnationforthefrontalposeofEgyptianexinhowthedisyofstatuesrecedotherformsofarchitecturalillustratethereligiousfunctionofEgyptianTheword“they”inthepassagereferspillaredParagraph3:Statueswerenormallymadeofstone,wood,ormetal.Stonestatueswereworkedfromsinglerectangularblocksofmaterialandretainedthecompactnessoftheoriginalshape.Thestonebetweenthearmsandthebodyandbetweenthelegsinstandingfiguresorthelegsandtheseatinseatedoneswasnotnormallycutaway.Fromapracticalaspectthisprotectedthefiguresagainstbreakageandpsychologicallygivestheimagesasenseofstrengthandpower,usuallyenhancedbyasupportingbackpillar.Bycontrast,woodenstatueswerecarvedfromseveralpiecesofwoodthatwerepeggedtogethertoformthefinishedwork,andmetalstatueswereeithermadebywrapsheetmetalaroundawoodencoreorcastbythelostwaxprocess.Thearmscouldbeheldawayfromthebodyandcarryseparateitemsintheirhands;thereisnobackpillar.Theeffectisaltogetherlighterandrthanthatachievedinstone,butbecausebothperformthesamefunction,formalwoodenandmetalstatuesstilldisyAccordingtoparagraph3,whywerecertainareasofastonestatueleftTopreventdamagebyprovidingphysicalToemphasizethatthematerialwasasimportantasthefigureToemphasizethatthefigurewasnotmeanttobearealhumanToprovideanotherwiththechancetofinishtheTheword“core”inthepassageisclosestinmeaningAccordingtoparagraph3,whichofthefollowingstatementsaboutwoodenstatuesistrue?WoodenstatueswereusuallylargerthanstoneWoodenstatuesweremadefromasinglepieceofWoodenstatuescontainedpiecesofmetalorstoneattachedtotheWoodenstatueshadadifferenteffectontheviewerthanstoneParagraph4:Apartfromstatuesrepresentingdeities,kings,andnamedmembersoftheelitethatcanbecalledformal,thereisanothergroupofthree-dimensionalrepresentationsthatdepictsgenericfigures,frequentlyservants,fromthenonelitepopulation.Thefunctionoftheseisquitedifferent.Manyaremadetobeputinthetombsoftheeliteinordertoservethetombownersintheafterlife.Unlikeformalstatuesthatarelimitedtostaticposesofstanding,sitting,andkneeling,thesefiguresdepictawiderangeofactions,suchasgrindinggrain,bakingbread,producingpots,andmakingmusic,andtheyareshowninappropriateposes,bendingandsquattingastheycarryouttheirtasks.TheworddepictsinthepassageisclosestinmeaningAccordingtoparagraph4,whatisthedifferencebetweenstatuesthatrepresenttheEgyptianeliteandstatuesthatrepresentthenoneliteclasses?Statuesoftheeliteareincludedintombs,butstatuesofthenoneliteareStatuesoftheeliteareinmotionlessposes,whilestatuesofthenoneliteareinactiveStatuesoftheeliteareshownstanding,whilestatuesofthenoneliteareshownsittingorkneeling.Statuesoftheeliteserveanimportantfunction,whilestatuesofthenoneliteareParagraph4:Apartfromstatuesrepresentingdeities,kings,andnamedmembersoftheelitethatcanbecalledformal,thereisanothergroupofthree-dimensionalrepresentationsthatdepictsgenericfigures,frequentlyservants,fromthenonelitepopulation.■Thefunctionoftheseisquitedifferent.■Manyaremadetobeputinthetombsoftheeliteinordertoservethetombownersintheafterlife.■Unlikeformalstatuesthatarelimitedtostaticposesofstanding,sitting,andkneeling,thesefiguresdepictawiderangeofactions,suchasgrindinggrain,bakingbread,producingpots,andmakingmusic,andtheyareshowninappropriateposes,bendingandsquattingastheycarryouttheirtasks.■Lookatthefoursquares[■]thatindicatewherethefollowingsentencecouldbeaddedtothepassage.Infact,itistheactionandnotthefigureitselfthatisWherewouldthesentencebestDirections:Anintroductorysentenceforabriefsummaryofthepassageisprovidedbelow.CompletethesummarybyselectingtheTHREEanswersthatexp