The majority of three – dimensional representations, whether standing, seated. or kneeling, exhibit what is called frontality; they face straight ahead, neither twisting nor turning. when such statues are viewed in isolation, out of their original context and without knowledge of their function, it is easy to criticize them for their rigid attitudes that remained unchanged for thousand years. frontality is, however, directly related to the functions of Egyptian statuary and the contexts in which the statues were set up. statues were created not for their decorative effect but to play a primary role in the cults of the gods, the king, and the dead. they were designed to be put in places where these beings could manifest themselves in order to be the recipients of ritual actions. Thus, it made sense to show the statue looking ahead at what was happening in front of it, so that the living performer of the ritual could interact with the divine or deceased recipient. very often such statues were enclosed in rectangular shrines or wall niches whose only opening was at the front, making it natural for the statue to display frontality. other statues were designed to be placed within an architectural setting, for instance, in front of the monumental entrance gateways to temples known as pylons, or in pillared courts, where they would be placed against or between pillars; their frontality worked perfectly within the architectural context.

1. the word ‘context’ in the passage is closest in meaning to
a. environment
b. requirement
c. connection
d. influence

2. the author mentions ‘an architectural setting’ in the passage in order to
a. illustrate the religious function of Egyptian statues
b. offer a further explanation for the frontal pose of Egyptian statues
c. suggest that architecture was as important as sculpture to Egyptian artists.
d. explain how the display of statues replaced other forms of architectural decoration

3. according to passage, why are Egyptian statues portrayed frontally?
a. to create a psychological effect of distance and isolation
b. to allow them to fulfill their important role in ceremonies of Egyptian life
c. to suggest the rigid, unchanging Egyptian philosophical attitudes.
d. to provide a contrast to statues with a decorative function

4. the word ‘they’ in the passage refers to
a. pillared courts
b. temples
c. statues
d. gateways​

The majority of three – dimensional representations, whether standing, seated. or kneeling, exhibit what is called frontality; they face straight ahead, neither twisting nor turning. when such statues are viewed in isolation, out of their original context and without knowledge of their function, it is easy to criticize them for their rigid attitudes that remained unchanged for thousand years. frontality is, however, directly related to the functions of Egyptian statuary and the contexts in which the statues were set up. statues were created not for their decorative effect but to play a primary role in the cults of the gods, the king, and the dead. they were designed to be put in places where these beings could manifest themselves in order to be the recipients of ritual actions. Thus, it made sense to show the statue looking ahead at what was happening in front of it, so that the living performer of the ritual could interact with the divine or deceased recipient. very often such statues were enclosed in rectangular shrines or wall niches whose only opening was at the front, making it natural for the statue to display frontality. other statues were designed to be placed within an architectural setting, for instance, in front of the monumental entrance gateways to temples known as pylons, or in pillared courts, where they would be placed against or between pillars; their frontality worked perfectly within the architectural context.