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Directions: Read the following passage and answer the question.
The Terracotta Army, 8,000 terracotta warrior figures guarding the tomb of the first Chinese emperor, Qin Shui Huang (259–210 ), was discovered in Xi’an in northwest China in 1974. The finding was remarkable not only for the sheer number of figures but for the intricate details of each sculpture. While it was a well-developed art form in ancient Greece, sculpture seems to have played only a minor role in ancient Asian art until the ascension of Qin Shui Huang. The variety of ear shapes, hairstyles, and armor among the figures has archaeologists pondering the possibility that the Terracotta Army may be representations of actual individual warriors. Such a level of detail is far beyond that of any known earlier Chinese sculptures.
Experts are searching for an explanation for this seemingly sudden appearance of sophisticated sculpture in ancient China. Recent DNA analysis of human remains found in westernmost China from the period of Qin Shui Huang yielded the surprising presence of European DNA, leading anthropologists to believe that Western contact with China may significantly predate the Silk Road, usually considered the inception of the relationship between these two civilizations. What is even more remarkable, however, is one of the responses to this discovery. Professor Lukas Nickel, an art historian from the University of Vienna, speculates that the presence of the DNA indicates that a Greek sculptor may have been employed at the site of the Terracotta Army to train the locals. Nickel also cites ancient Chinese records that reveal tales of giant statues appearing in the far West, as well as narratives stating that the emperor ordered the casting of copies in bronze that were erected in front of his palace. This account supports the notion of early contact between China and the West, which Nickel says could have inspired the First Emperor not only to duplicate the giant statues but also to build the huge Terracotta Army along with other life-size sculptures. Li Xiuzhen, a Chinese archaeologist specializing in the Terracotta Army, responds that the sculptures “may be inspired by Western culture, but were uniquely made by the Chinese.”
Nickel’s leap from the presence of European DNA in one part of China to his conclusion strains credulity. It is, at best, an interesting hypothesis demanding further evidence and, at worst, a pernicious example of Western cultural elitism wherein artistic developments that parallel or exceed those of Western culture are considered impossible without the impetus of Western influence.
Q. The primary purpose of the passage is to
  • a)
    compare the development of sculpture as an art form in the ancient Greek and Chinese cultures
  • b)
    challenge an interpretation of new physical evidence of the presence of Western DNA in China
  • c)
    criticize the authenticity of recent evidence used to address the question of how the Greek and Chinese sculptural arts came to share many characteristics
  • d)
    discuss the contribution of Greek artisans to the design and construction of the Terracotta Army
  • e)
    present evidence that suggests an explanation for the sudden appearance of advanced sculpture techniques in China
Correct answer is option 'B'. Can you explain this answer?
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Directions: Read the following passage and answer the question.The Te...
The strong language in the last paragraph, “strains credulity” and “pernicious example,” are clear indicators of the author’s disagreement with Nickel’s assessment. A good prediction of the author’s purpose would be to rebut Nickel’s interpretation of the presence of Western DNA in ancient China. (B) matches the prediction and is correct. (C) distorts two aspects of the passage. First, the author is criticizing the interpretation of the DNA evidence, not its authenticity. Second, while the text indicates that Greek sculpture in the 3rd century was more advanced than Chinese sculpture at the time, nowhere does it compare "many characteristics" of the two traditions. The remaining choices can be eliminated by a verb scan. The passage does not (A) compare cultural developments of sculpture, and the neutral verbs (D) discuss and (E) present do not accurately reflect the author’s definite opinion.
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Directions: Read the following passage and answer the question.The Te...
Challenging Interpretation of New Evidence
- The primary purpose of the passage is to challenge an interpretation of new physical evidence regarding the presence of Western DNA in China.
- The passage discusses the discovery of European DNA in ancient Chinese human remains, suggesting potential early contact between China and the West.
- It then introduces Professor Lukas Nickel's hypothesis that a Greek sculptor may have been involved in training locals at the site of the Terracotta Army, leading to the development of sophisticated sculpture in ancient China.

Critiquing the Hypothesis
- The passage critiques Nickel's leap from the presence of European DNA to the conclusion that Greek artisans directly influenced the creation of the Terracotta Army.
- It questions the validity of this hypothesis, mentioning that it requires further evidence to support.
- The passage also highlights concerns about Western cultural elitism, where artistic developments in non-Western cultures are often attributed solely to Western influence.

Emphasizing Uniquely Chinese Contribution
- Chinese archaeologist Li Xiuzhen argues that while the sculptures may have been inspired by Western culture, they were uniquely made by the Chinese.
- This perspective emphasizes the agency and creativity of ancient Chinese artisans in developing advanced sculptural techniques.
- The passage ultimately presents differing viewpoints on the origins of the Terracotta Army and encourages critical thinking about the influence of different cultures on artistic developments.
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Directions: Read the following passage and answer the question.The Terracotta Army, 8,000 terracotta warrior figures guarding the tomb of the first Chinese emperor, Qin Shui Huang (259–210 ), was discovered in Xi’an in northwest China in 1974. The finding was remarkable not only for the sheer number of figures but for the intricate details of each sculpture. While it was a well-developed art form in ancient Greece, sculpture seems to have played only a minor role in ancient Asian art until the ascension of Qin Shui Huang. The variety of ear shapes, hairstyles, and armor among the figures has archaeologists pondering the possibility that the Terracotta Army may be representations of actual individual warriors. Such a level of detail is far beyond that of any known earlier Chinese sculptures.Experts are searching for an explanation for this seemingly sudden appearance of sophisticated sculpture in ancient China. Recent DNA analysis of human remains found in westernmost China from the period of Qin Shui Huang yielded the surprising presence of European DNA, leading anthropologists to believe that Western contact with China may significantly predate the Silk Road, usually considered the inception of the relationship between these two civilizations. What is even more remarkable, however, is one of the responses to this discovery. Professor Lukas Nickel, an art historian from the University of Vienna, speculates that the presence of the DNA indicates that a Greek sculptor may have been employed at the site of the Terracotta Army to train the locals. Nickel also cites ancient Chinese records that reveal tales of giant statues appearing in the far West, as well as narratives stating that the emperor ordered the casting of copies in bronze that were erected in front of his palace. This account supports the notion of early contact between China and the West, which Nickel says could have inspired the First Emperor not only to duplicate the giant statues but also to build the huge Terracotta Army along with other life-size sculptures. Li Xiuzhen, a Chinese archaeologist specializing in the Terracotta Army, responds that the sculptures “may be inspired by Western culture, but were uniquely made by the Chinese.”Nickel’s leap from the presence of European DNA in one part of China to his conclusion strains credulity. It is, at best, an interesting hypothesis demanding further evidence and, at worst, a pernicious example of Western cultural elitism wherein artistic developments that parallel or exceed those of Western culture are considered impossible without the impetus of Western influence.Q. The passage implies which of the following about the sculptures of the Terracotta Army?

Directions: Answer the questions based on following reading passage.Until recently, many anthropologists assumed that the environment of what is now the southwestern United States shaped the social history and culture of the region’s indigenous peoples. Building on this assumption, archaeologists asserted that adverse environmental conditions and droughts were responsible for the disappearances and migrations of southwestern populations from many sites they once inhabited.However, such deterministic arguments fail to acknowledge that local environmental variability in the Southwest makes generalizing about that environment difficult. To examine the relationship between environmental variation and sociocultural change in the Western Pueblo region of central Arizona, which indigenous tribes have occupied continuously for at least 800 years, a research team recently reconstructed the climatic, vegetational, and erosional cycles of past centuries. The researchers found it impossible to provide a single, generally applicable characterization of environmental conditions for the region. Rather, they found that local areas experienced different patterns of rainfall, wind, and erosion, and that such conditions had prevailed in the Southwest for the last 1,400 years. Rainfall, for example, varied within and between local valley systems, so that even adjacent agricultural fields can produce significantly different yields.The researchers characterized episodes of variation in southwestern environments by frequency: low-frequency environmental processes occur in cycles longer than one human generation, which generally is considered to last about 25 years, and high frequency processes have shorter cycles. The researchers pointed out that low-frequency processes, such as fluctuations in stream flow and groundwater levels, would not usually be apparent to human populations. In contrast, high-frequency fluctuations such as seasonal temperature variations are observable and somewhat predictable, so that groups could have adapted their behaviors accordingly. When the researchers compared sequences of sociocultural change in the Western Pueblo region with episodes of low- and high-frequency environmental variation, however, they found no simple correlation between environmental process and sociocultural change or persistence.Although early Pueblo peoples did protect themselves against environmental risk and uncertainty, they responded variously on different occasions to similar patterns of highfrequency climatic and environmental change. The researchers identified seven major adaptive responses, including increased mobility, relocation of permanent settlements, changes in subsistence foods, and reliance on trade with other groups. These findings suggest that groups’ adaptive choices depended on cultural and social as well as environmental factors and were flexible strategies rather than uncomplicated reactions to environmental change. Environmental conditions mattered, but they were rarely, if ever, sufficient to account for sociocultural persistence and change. Group size and composition, culture, contact with other groups, and individual choices and actions were— barring catastrophes such as floods or earthquakes—more significant for a population’s survival than were climate and environment.Q. The passage is primarily concerned with

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Directions: Answer the questions based on following reading passage.Until recently, many anthropologists assumed that the environment of what is now the southwestern United States shaped the social history and culture of the region’s indigenous peoples. Building on this assumption, archaeologists asserted that adverse environmental conditions and droughts were responsible for the disappearances and migrations of southwestern populations from many sites they once inhabited.However, such deterministic arguments fail to acknowledge that local environmental variability in the Southwest makes generalizing about that environment difficult. To examine the relationship between environmental variation and sociocultural change in the Western Pueblo region of central Arizona, which indigenous tribes have occupied continuously for at least 800 years, a research team recently reconstructed the climatic, vegetational, and erosional cycles of past centuries. The researchers found it impossible to provide a single, generally applicable characterization of environmental conditions for the region. Rather, they found that local areas experienced different patterns of rainfall, wind, and erosion, and that such conditions had prevailed in the Southwest for the last 1,400 years. Rainfall, for example, varied within and between local valley systems, so that even adjacent agricultural fields can produce significantly different yields.The researchers characterized episodes of variation in southwestern environments by frequency: low-frequency environmental processes occur in cycles longer than one human generation, which generally is considered to last about 25 years, and highfrequency processes have shorter cycles. The researchers pointed out that low-frequency processes, such as fluctuations in stream flow and groundwater levels, would not usually be apparent to human populations. In contrast, high-frequency fluctuations such as seasonal temperature variations are observable and somewhat predictable, so that groups could have adapted their behaviors accordingly. When the researchers compared sequences of sociocultural change in the Western Pueblo region with episodes of low- and high-frequency environmental variation, however, they found no simple correlation between environmental process and sociocultural change or persistence.Although early Pueblo peoples did protect themselves against environmental risk and uncertainty, they responded variously on different occasions to similar patterns of high frequency climatic and environmental change. The researchers identified seven major adaptive responses, including increased mobility, relocation of permanent settlements, changes in subsistence foods, and reliance on trade with other groups. These findings suggest that groups’ adaptive choices depended on cultural and social as well as environmental factors and were flexible strategies rather than uncomplicated reactions to environmental change. Environmental conditions mattered, but they were rarely, if ever, sufficient to account for sociocultural persistence and change. Group size and composition, culture, contact with other groups, and individual choices and actions were— barring catastrophes such as floods or earthquakes—more significant for a population’s survival than were climate and environment.Q. The fact that “adjacent agricultural fields can produce significantly different yields” (lines 16–17) is offered as evidence of the

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Directions: Read the following passage and answer the question.The Terracotta Army, 8,000 terracotta warrior figures guarding the tomb of the first Chinese emperor, Qin Shui Huang (259–210 ), was discovered in Xi’an in northwest China in 1974. The finding was remarkable not only for the sheer number of figures but for the intricate details of each sculpture. While it was a well-developed art form in ancient Greece, sculpture seems to have played only a minor role in ancient Asian art until the ascension of Qin Shui Huang. The variety of ear shapes, hairstyles, and armor among the figures has archaeologists pondering the possibility that the Terracotta Army may be representations of actual individual warriors. Such a level of detail is far beyond that of any known earlier Chinese sculptures.Experts are searching for an explanation for this seemingly sudden appearance of sophisticated sculpture in ancient China. Recent DNA analysis of human remains found in westernmost China from the period of Qin Shui Huang yielded the surprising presence of European DNA, leading anthropologists to believe that Western contact with China may significantly predate the Silk Road, usually considered the inception of the relationship between these two civilizations. What is even more remarkable, however, is one of the responses to this discovery. Professor Lukas Nickel, an art historian from the University of Vienna, speculates that the presence of the DNA indicates that a Greek sculptor may have been employed at the site of the Terracotta Army to train the locals. Nickel also cites ancient Chinese records that reveal tales of giant statues appearing in the far West, as well as narratives stating that the emperor ordered the casting of copies in bronze that were erected in front of his palace. This account supports the notion of early contact between China and the West, which Nickel says could have inspired the First Emperor not only to duplicate the giant statues but also to build the huge Terracotta Army along with other life-size sculptures. Li Xiuzhen, a Chinese archaeologist specializing in the Terracotta Army, responds that the sculptures “may be inspired by Western culture, but were uniquely made by the Chinese.”Nickel’s leap from the presence of European DNA in one part of China to his conclusion strains credulity. It is, at best, an interesting hypothesis demanding further evidence and, at worst, a pernicious example of Western cultural elitism wherein artistic developments that parallel or exceed those of Western culture are considered impossible without the impetus of Western influence.Q. The primary purpose of the passage is toa)compare the development of sculpture as an art form in the ancient Greek and Chinese culturesb)challenge an interpretation of new physical evidence of the presence of Western DNA in Chinac)criticize the authenticity of recent evidence used to address the question of how the Greek and Chinese sculptural arts came to share many characteristicsd)discuss the contribution of Greek artisans to the design and construction of the Terracotta Armye)present evidence that suggests an explanation for the sudden appearance of advanced sculpture techniques in ChinaCorrect answer is option 'B'. Can you explain this answer?
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Directions: Read the following passage and answer the question.The Terracotta Army, 8,000 terracotta warrior figures guarding the tomb of the first Chinese emperor, Qin Shui Huang (259–210 ), was discovered in Xi’an in northwest China in 1974. The finding was remarkable not only for the sheer number of figures but for the intricate details of each sculpture. While it was a well-developed art form in ancient Greece, sculpture seems to have played only a minor role in ancient Asian art until the ascension of Qin Shui Huang. The variety of ear shapes, hairstyles, and armor among the figures has archaeologists pondering the possibility that the Terracotta Army may be representations of actual individual warriors. Such a level of detail is far beyond that of any known earlier Chinese sculptures.Experts are searching for an explanation for this seemingly sudden appearance of sophisticated sculpture in ancient China. Recent DNA analysis of human remains found in westernmost China from the period of Qin Shui Huang yielded the surprising presence of European DNA, leading anthropologists to believe that Western contact with China may significantly predate the Silk Road, usually considered the inception of the relationship between these two civilizations. What is even more remarkable, however, is one of the responses to this discovery. Professor Lukas Nickel, an art historian from the University of Vienna, speculates that the presence of the DNA indicates that a Greek sculptor may have been employed at the site of the Terracotta Army to train the locals. Nickel also cites ancient Chinese records that reveal tales of giant statues appearing in the far West, as well as narratives stating that the emperor ordered the casting of copies in bronze that were erected in front of his palace. This account supports the notion of early contact between China and the West, which Nickel says could have inspired the First Emperor not only to duplicate the giant statues but also to build the huge Terracotta Army along with other life-size sculptures. Li Xiuzhen, a Chinese archaeologist specializing in the Terracotta Army, responds that the sculptures “may be inspired by Western culture, but were uniquely made by the Chinese.”Nickel’s leap from the presence of European DNA in one part of China to his conclusion strains credulity. It is, at best, an interesting hypothesis demanding further evidence and, at worst, a pernicious example of Western cultural elitism wherein artistic developments that parallel or exceed those of Western culture are considered impossible without the impetus of Western influence.Q. The primary purpose of the passage is toa)compare the development of sculpture as an art form in the ancient Greek and Chinese culturesb)challenge an interpretation of new physical evidence of the presence of Western DNA in Chinac)criticize the authenticity of recent evidence used to address the question of how the Greek and Chinese sculptural arts came to share many characteristicsd)discuss the contribution of Greek artisans to the design and construction of the Terracotta Armye)present evidence that suggests an explanation for the sudden appearance of advanced sculpture techniques in ChinaCorrect answer is option 'B'. Can you explain this answer? for GRE 2024 is part of GRE preparation. The Question and answers have been prepared according to the GRE exam syllabus. Information about Directions: Read the following passage and answer the question.The Terracotta Army, 8,000 terracotta warrior figures guarding the tomb of the first Chinese emperor, Qin Shui Huang (259–210 ), was discovered in Xi’an in northwest China in 1974. The finding was remarkable not only for the sheer number of figures but for the intricate details of each sculpture. While it was a well-developed art form in ancient Greece, sculpture seems to have played only a minor role in ancient Asian art until the ascension of Qin Shui Huang. The variety of ear shapes, hairstyles, and armor among the figures has archaeologists pondering the possibility that the Terracotta Army may be representations of actual individual warriors. Such a level of detail is far beyond that of any known earlier Chinese sculptures.Experts are searching for an explanation for this seemingly sudden appearance of sophisticated sculpture in ancient China. Recent DNA analysis of human remains found in westernmost China from the period of Qin Shui Huang yielded the surprising presence of European DNA, leading anthropologists to believe that Western contact with China may significantly predate the Silk Road, usually considered the inception of the relationship between these two civilizations. What is even more remarkable, however, is one of the responses to this discovery. Professor Lukas Nickel, an art historian from the University of Vienna, speculates that the presence of the DNA indicates that a Greek sculptor may have been employed at the site of the Terracotta Army to train the locals. Nickel also cites ancient Chinese records that reveal tales of giant statues appearing in the far West, as well as narratives stating that the emperor ordered the casting of copies in bronze that were erected in front of his palace. This account supports the notion of early contact between China and the West, which Nickel says could have inspired the First Emperor not only to duplicate the giant statues but also to build the huge Terracotta Army along with other life-size sculptures. Li Xiuzhen, a Chinese archaeologist specializing in the Terracotta Army, responds that the sculptures “may be inspired by Western culture, but were uniquely made by the Chinese.”Nickel’s leap from the presence of European DNA in one part of China to his conclusion strains credulity. It is, at best, an interesting hypothesis demanding further evidence and, at worst, a pernicious example of Western cultural elitism wherein artistic developments that parallel or exceed those of Western culture are considered impossible without the impetus of Western influence.Q. The primary purpose of the passage is toa)compare the development of sculpture as an art form in the ancient Greek and Chinese culturesb)challenge an interpretation of new physical evidence of the presence of Western DNA in Chinac)criticize the authenticity of recent evidence used to address the question of how the Greek and Chinese sculptural arts came to share many characteristicsd)discuss the contribution of Greek artisans to the design and construction of the Terracotta Armye)present evidence that suggests an explanation for the sudden appearance of advanced sculpture techniques in ChinaCorrect answer is option 'B'. Can you explain this answer? covers all topics & solutions for GRE 2024 Exam. Find important definitions, questions, meanings, examples, exercises and tests below for Directions: Read the following passage and answer the question.The Terracotta Army, 8,000 terracotta warrior figures guarding the tomb of the first Chinese emperor, Qin Shui Huang (259–210 ), was discovered in Xi’an in northwest China in 1974. The finding was remarkable not only for the sheer number of figures but for the intricate details of each sculpture. While it was a well-developed art form in ancient Greece, sculpture seems to have played only a minor role in ancient Asian art until the ascension of Qin Shui Huang. The variety of ear shapes, hairstyles, and armor among the figures has archaeologists pondering the possibility that the Terracotta Army may be representations of actual individual warriors. Such a level of detail is far beyond that of any known earlier Chinese sculptures.Experts are searching for an explanation for this seemingly sudden appearance of sophisticated sculpture in ancient China. Recent DNA analysis of human remains found in westernmost China from the period of Qin Shui Huang yielded the surprising presence of European DNA, leading anthropologists to believe that Western contact with China may significantly predate the Silk Road, usually considered the inception of the relationship between these two civilizations. What is even more remarkable, however, is one of the responses to this discovery. Professor Lukas Nickel, an art historian from the University of Vienna, speculates that the presence of the DNA indicates that a Greek sculptor may have been employed at the site of the Terracotta Army to train the locals. Nickel also cites ancient Chinese records that reveal tales of giant statues appearing in the far West, as well as narratives stating that the emperor ordered the casting of copies in bronze that were erected in front of his palace. This account supports the notion of early contact between China and the West, which Nickel says could have inspired the First Emperor not only to duplicate the giant statues but also to build the huge Terracotta Army along with other life-size sculptures. Li Xiuzhen, a Chinese archaeologist specializing in the Terracotta Army, responds that the sculptures “may be inspired by Western culture, but were uniquely made by the Chinese.”Nickel’s leap from the presence of European DNA in one part of China to his conclusion strains credulity. It is, at best, an interesting hypothesis demanding further evidence and, at worst, a pernicious example of Western cultural elitism wherein artistic developments that parallel or exceed those of Western culture are considered impossible without the impetus of Western influence.Q. The primary purpose of the passage is toa)compare the development of sculpture as an art form in the ancient Greek and Chinese culturesb)challenge an interpretation of new physical evidence of the presence of Western DNA in Chinac)criticize the authenticity of recent evidence used to address the question of how the Greek and Chinese sculptural arts came to share many characteristicsd)discuss the contribution of Greek artisans to the design and construction of the Terracotta Armye)present evidence that suggests an explanation for the sudden appearance of advanced sculpture techniques in ChinaCorrect answer is option 'B'. Can you explain this answer?.
Solutions for Directions: Read the following passage and answer the question.The Terracotta Army, 8,000 terracotta warrior figures guarding the tomb of the first Chinese emperor, Qin Shui Huang (259–210 ), was discovered in Xi’an in northwest China in 1974. The finding was remarkable not only for the sheer number of figures but for the intricate details of each sculpture. While it was a well-developed art form in ancient Greece, sculpture seems to have played only a minor role in ancient Asian art until the ascension of Qin Shui Huang. The variety of ear shapes, hairstyles, and armor among the figures has archaeologists pondering the possibility that the Terracotta Army may be representations of actual individual warriors. Such a level of detail is far beyond that of any known earlier Chinese sculptures.Experts are searching for an explanation for this seemingly sudden appearance of sophisticated sculpture in ancient China. Recent DNA analysis of human remains found in westernmost China from the period of Qin Shui Huang yielded the surprising presence of European DNA, leading anthropologists to believe that Western contact with China may significantly predate the Silk Road, usually considered the inception of the relationship between these two civilizations. What is even more remarkable, however, is one of the responses to this discovery. Professor Lukas Nickel, an art historian from the University of Vienna, speculates that the presence of the DNA indicates that a Greek sculptor may have been employed at the site of the Terracotta Army to train the locals. Nickel also cites ancient Chinese records that reveal tales of giant statues appearing in the far West, as well as narratives stating that the emperor ordered the casting of copies in bronze that were erected in front of his palace. This account supports the notion of early contact between China and the West, which Nickel says could have inspired the First Emperor not only to duplicate the giant statues but also to build the huge Terracotta Army along with other life-size sculptures. Li Xiuzhen, a Chinese archaeologist specializing in the Terracotta Army, responds that the sculptures “may be inspired by Western culture, but were uniquely made by the Chinese.”Nickel’s leap from the presence of European DNA in one part of China to his conclusion strains credulity. It is, at best, an interesting hypothesis demanding further evidence and, at worst, a pernicious example of Western cultural elitism wherein artistic developments that parallel or exceed those of Western culture are considered impossible without the impetus of Western influence.Q. The primary purpose of the passage is toa)compare the development of sculpture as an art form in the ancient Greek and Chinese culturesb)challenge an interpretation of new physical evidence of the presence of Western DNA in Chinac)criticize the authenticity of recent evidence used to address the question of how the Greek and Chinese sculptural arts came to share many characteristicsd)discuss the contribution of Greek artisans to the design and construction of the Terracotta Armye)present evidence that suggests an explanation for the sudden appearance of advanced sculpture techniques in ChinaCorrect answer is option 'B'. Can you explain this answer? in English & in Hindi are available as part of our courses for GRE. Download more important topics, notes, lectures and mock test series for GRE Exam by signing up for free.
Here you can find the meaning of Directions: Read the following passage and answer the question.The Terracotta Army, 8,000 terracotta warrior figures guarding the tomb of the first Chinese emperor, Qin Shui Huang (259–210 ), was discovered in Xi’an in northwest China in 1974. The finding was remarkable not only for the sheer number of figures but for the intricate details of each sculpture. While it was a well-developed art form in ancient Greece, sculpture seems to have played only a minor role in ancient Asian art until the ascension of Qin Shui Huang. The variety of ear shapes, hairstyles, and armor among the figures has archaeologists pondering the possibility that the Terracotta Army may be representations of actual individual warriors. Such a level of detail is far beyond that of any known earlier Chinese sculptures.Experts are searching for an explanation for this seemingly sudden appearance of sophisticated sculpture in ancient China. Recent DNA analysis of human remains found in westernmost China from the period of Qin Shui Huang yielded the surprising presence of European DNA, leading anthropologists to believe that Western contact with China may significantly predate the Silk Road, usually considered the inception of the relationship between these two civilizations. What is even more remarkable, however, is one of the responses to this discovery. Professor Lukas Nickel, an art historian from the University of Vienna, speculates that the presence of the DNA indicates that a Greek sculptor may have been employed at the site of the Terracotta Army to train the locals. Nickel also cites ancient Chinese records that reveal tales of giant statues appearing in the far West, as well as narratives stating that the emperor ordered the casting of copies in bronze that were erected in front of his palace. This account supports the notion of early contact between China and the West, which Nickel says could have inspired the First Emperor not only to duplicate the giant statues but also to build the huge Terracotta Army along with other life-size sculptures. Li Xiuzhen, a Chinese archaeologist specializing in the Terracotta Army, responds that the sculptures “may be inspired by Western culture, but were uniquely made by the Chinese.”Nickel’s leap from the presence of European DNA in one part of China to his conclusion strains credulity. It is, at best, an interesting hypothesis demanding further evidence and, at worst, a pernicious example of Western cultural elitism wherein artistic developments that parallel or exceed those of Western culture are considered impossible without the impetus of Western influence.Q. The primary purpose of the passage is toa)compare the development of sculpture as an art form in the ancient Greek and Chinese culturesb)challenge an interpretation of new physical evidence of the presence of Western DNA in Chinac)criticize the authenticity of recent evidence used to address the question of how the Greek and Chinese sculptural arts came to share many characteristicsd)discuss the contribution of Greek artisans to the design and construction of the Terracotta Armye)present evidence that suggests an explanation for the sudden appearance of advanced sculpture techniques in ChinaCorrect answer is option 'B'. Can you explain this answer? defined & explained in the simplest way possible. Besides giving the explanation of Directions: Read the following passage and answer the question.The Terracotta Army, 8,000 terracotta warrior figures guarding the tomb of the first Chinese emperor, Qin Shui Huang (259–210 ), was discovered in Xi’an in northwest China in 1974. The finding was remarkable not only for the sheer number of figures but for the intricate details of each sculpture. While it was a well-developed art form in ancient Greece, sculpture seems to have played only a minor role in ancient Asian art until the ascension of Qin Shui Huang. The variety of ear shapes, hairstyles, and armor among the figures has archaeologists pondering the possibility that the Terracotta Army may be representations of actual individual warriors. Such a level of detail is far beyond that of any known earlier Chinese sculptures.Experts are searching for an explanation for this seemingly sudden appearance of sophisticated sculpture in ancient China. Recent DNA analysis of human remains found in westernmost China from the period of Qin Shui Huang yielded the surprising presence of European DNA, leading anthropologists to believe that Western contact with China may significantly predate the Silk Road, usually considered the inception of the relationship between these two civilizations. What is even more remarkable, however, is one of the responses to this discovery. Professor Lukas Nickel, an art historian from the University of Vienna, speculates that the presence of the DNA indicates that a Greek sculptor may have been employed at the site of the Terracotta Army to train the locals. Nickel also cites ancient Chinese records that reveal tales of giant statues appearing in the far West, as well as narratives stating that the emperor ordered the casting of copies in bronze that were erected in front of his palace. This account supports the notion of early contact between China and the West, which Nickel says could have inspired the First Emperor not only to duplicate the giant statues but also to build the huge Terracotta Army along with other life-size sculptures. Li Xiuzhen, a Chinese archaeologist specializing in the Terracotta Army, responds that the sculptures “may be inspired by Western culture, but were uniquely made by the Chinese.”Nickel’s leap from the presence of European DNA in one part of China to his conclusion strains credulity. It is, at best, an interesting hypothesis demanding further evidence and, at worst, a pernicious example of Western cultural elitism wherein artistic developments that parallel or exceed those of Western culture are considered impossible without the impetus of Western influence.Q. The primary purpose of the passage is toa)compare the development of sculpture as an art form in the ancient Greek and Chinese culturesb)challenge an interpretation of new physical evidence of the presence of Western DNA in Chinac)criticize the authenticity of recent evidence used to address the question of how the Greek and Chinese sculptural arts came to share many characteristicsd)discuss the contribution of Greek artisans to the design and construction of the Terracotta Armye)present evidence that suggests an explanation for the sudden appearance of advanced sculpture techniques in ChinaCorrect answer is option 'B'. Can you explain this answer?, a detailed solution for Directions: Read the following passage and answer the question.The Terracotta Army, 8,000 terracotta warrior figures guarding the tomb of the first Chinese emperor, Qin Shui Huang (259–210 ), was discovered in Xi’an in northwest China in 1974. The finding was remarkable not only for the sheer number of figures but for the intricate details of each sculpture. While it was a well-developed art form in ancient Greece, sculpture seems to have played only a minor role in ancient Asian art until the ascension of Qin Shui Huang. The variety of ear shapes, hairstyles, and armor among the figures has archaeologists pondering the possibility that the Terracotta Army may be representations of actual individual warriors. Such a level of detail is far beyond that of any known earlier Chinese sculptures.Experts are searching for an explanation for this seemingly sudden appearance of sophisticated sculpture in ancient China. Recent DNA analysis of human remains found in westernmost China from the period of Qin Shui Huang yielded the surprising presence of European DNA, leading anthropologists to believe that Western contact with China may significantly predate the Silk Road, usually considered the inception of the relationship between these two civilizations. What is even more remarkable, however, is one of the responses to this discovery. Professor Lukas Nickel, an art historian from the University of Vienna, speculates that the presence of the DNA indicates that a Greek sculptor may have been employed at the site of the Terracotta Army to train the locals. Nickel also cites ancient Chinese records that reveal tales of giant statues appearing in the far West, as well as narratives stating that the emperor ordered the casting of copies in bronze that were erected in front of his palace. This account supports the notion of early contact between China and the West, which Nickel says could have inspired the First Emperor not only to duplicate the giant statues but also to build the huge Terracotta Army along with other life-size sculptures. Li Xiuzhen, a Chinese archaeologist specializing in the Terracotta Army, responds that the sculptures “may be inspired by Western culture, but were uniquely made by the Chinese.”Nickel’s leap from the presence of European DNA in one part of China to his conclusion strains credulity. It is, at best, an interesting hypothesis demanding further evidence and, at worst, a pernicious example of Western cultural elitism wherein artistic developments that parallel or exceed those of Western culture are considered impossible without the impetus of Western influence.Q. The primary purpose of the passage is toa)compare the development of sculpture as an art form in the ancient Greek and Chinese culturesb)challenge an interpretation of new physical evidence of the presence of Western DNA in Chinac)criticize the authenticity of recent evidence used to address the question of how the Greek and Chinese sculptural arts came to share many characteristicsd)discuss the contribution of Greek artisans to the design and construction of the Terracotta Armye)present evidence that suggests an explanation for the sudden appearance of advanced sculpture techniques in ChinaCorrect answer is option 'B'. Can you explain this answer? has been provided alongside types of Directions: Read the following passage and answer the question.The Terracotta Army, 8,000 terracotta warrior figures guarding the tomb of the first Chinese emperor, Qin Shui Huang (259–210 ), was discovered in Xi’an in northwest China in 1974. The finding was remarkable not only for the sheer number of figures but for the intricate details of each sculpture. While it was a well-developed art form in ancient Greece, sculpture seems to have played only a minor role in ancient Asian art until the ascension of Qin Shui Huang. The variety of ear shapes, hairstyles, and armor among the figures has archaeologists pondering the possibility that the Terracotta Army may be representations of actual individual warriors. Such a level of detail is far beyond that of any known earlier Chinese sculptures.Experts are searching for an explanation for this seemingly sudden appearance of sophisticated sculpture in ancient China. Recent DNA analysis of human remains found in westernmost China from the period of Qin Shui Huang yielded the surprising presence of European DNA, leading anthropologists to believe that Western contact with China may significantly predate the Silk Road, usually considered the inception of the relationship between these two civilizations. What is even more remarkable, however, is one of the responses to this discovery. Professor Lukas Nickel, an art historian from the University of Vienna, speculates that the presence of the DNA indicates that a Greek sculptor may have been employed at the site of the Terracotta Army to train the locals. Nickel also cites ancient Chinese records that reveal tales of giant statues appearing in the far West, as well as narratives stating that the emperor ordered the casting of copies in bronze that were erected in front of his palace. This account supports the notion of early contact between China and the West, which Nickel says could have inspired the First Emperor not only to duplicate the giant statues but also to build the huge Terracotta Army along with other life-size sculptures. Li Xiuzhen, a Chinese archaeologist specializing in the Terracotta Army, responds that the sculptures “may be inspired by Western culture, but were uniquely made by the Chinese.”Nickel’s leap from the presence of European DNA in one part of China to his conclusion strains credulity. It is, at best, an interesting hypothesis demanding further evidence and, at worst, a pernicious example of Western cultural elitism wherein artistic developments that parallel or exceed those of Western culture are considered impossible without the impetus of Western influence.Q. The primary purpose of the passage is toa)compare the development of sculpture as an art form in the ancient Greek and Chinese culturesb)challenge an interpretation of new physical evidence of the presence of Western DNA in Chinac)criticize the authenticity of recent evidence used to address the question of how the Greek and Chinese sculptural arts came to share many characteristicsd)discuss the contribution of Greek artisans to the design and construction of the Terracotta Armye)present evidence that suggests an explanation for the sudden appearance of advanced sculpture techniques in ChinaCorrect answer is option 'B'. Can you explain this answer? theory, EduRev gives you an ample number of questions to practice Directions: Read the following passage and answer the question.The Terracotta Army, 8,000 terracotta warrior figures guarding the tomb of the first Chinese emperor, Qin Shui Huang (259–210 ), was discovered in Xi’an in northwest China in 1974. The finding was remarkable not only for the sheer number of figures but for the intricate details of each sculpture. While it was a well-developed art form in ancient Greece, sculpture seems to have played only a minor role in ancient Asian art until the ascension of Qin Shui Huang. The variety of ear shapes, hairstyles, and armor among the figures has archaeologists pondering the possibility that the Terracotta Army may be representations of actual individual warriors. Such a level of detail is far beyond that of any known earlier Chinese sculptures.Experts are searching for an explanation for this seemingly sudden appearance of sophisticated sculpture in ancient China. Recent DNA analysis of human remains found in westernmost China from the period of Qin Shui Huang yielded the surprising presence of European DNA, leading anthropologists to believe that Western contact with China may significantly predate the Silk Road, usually considered the inception of the relationship between these two civilizations. What is even more remarkable, however, is one of the responses to this discovery. Professor Lukas Nickel, an art historian from the University of Vienna, speculates that the presence of the DNA indicates that a Greek sculptor may have been employed at the site of the Terracotta Army to train the locals. Nickel also cites ancient Chinese records that reveal tales of giant statues appearing in the far West, as well as narratives stating that the emperor ordered the casting of copies in bronze that were erected in front of his palace. This account supports the notion of early contact between China and the West, which Nickel says could have inspired the First Emperor not only to duplicate the giant statues but also to build the huge Terracotta Army along with other life-size sculptures. Li Xiuzhen, a Chinese archaeologist specializing in the Terracotta Army, responds that the sculptures “may be inspired by Western culture, but were uniquely made by the Chinese.”Nickel’s leap from the presence of European DNA in one part of China to his conclusion strains credulity. It is, at best, an interesting hypothesis demanding further evidence and, at worst, a pernicious example of Western cultural elitism wherein artistic developments that parallel or exceed those of Western culture are considered impossible without the impetus of Western influence.Q. The primary purpose of the passage is toa)compare the development of sculpture as an art form in the ancient Greek and Chinese culturesb)challenge an interpretation of new physical evidence of the presence of Western DNA in Chinac)criticize the authenticity of recent evidence used to address the question of how the Greek and Chinese sculptural arts came to share many characteristicsd)discuss the contribution of Greek artisans to the design and construction of the Terracotta Armye)present evidence that suggests an explanation for the sudden appearance of advanced sculpture techniques in ChinaCorrect answer is option 'B'. Can you explain this answer? tests, examples and also practice GRE tests.
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