問題詳情
(5) For the Romans, art and politics were intimately connected. Monuments that recognized public service, and buildings that metpublic needs, form the core of early Roman art. Many of them must be put together carefully from fragments from excavations, orimagined from sketchy descriptions of historians or commentators. Additional help in discovering what styles were fashionable at onetime or another can be gained from close attention to the examples of the art of private patrons, and from practical objects that werecommonly decorated with subjects comparable to those on public monuments. Civic leaders were well aware of the potential of art as a means of promoting their own ends, during both the Republican periodand the Imperial Age. The Senate and emperors would erect statues and install commemorative reliefs in public squares, and theysponsored new public buildings or repaired old ones. The sponsorship was almost always clearly spelled out in an accompanyinginscription, prominently displayed. Honorific statues were normally voted by the Senate, and obvious self-promotion was not starteduntil the early first century BC when Sulla, and then Pompey, used propaganda techniques to support a political cause. Julius Caesarwas a master at this, and the practice was continued under most of the emperors. Whenever we consider a piece of Roman statue, or apainting or building, we must consider the circumstances that brought it into being, the meaning it expresses, and the intentions of thepatron. Although many formal characteristics were shared with Greek art, as we shall see, the meaning for the Roman patron wasoften different.
【題組】72. Which of the following is the best title for this passage?
(A) Roman Art
(B) Roman and Greek Art
(C) Art in the Service of the State
(D) Julius Caesar: the Master of Propaganda
參考答案
答案：B[無官方正解]
難度：適中0.5
統計：A(0),B(3),C(1),D(0),E(0)