1 . 阅读下列短文，在空白处填入1个适当的单词或括号内单词的正确形式。

In recent years, many artists have taken part    1    Belt and Road Initiative(BRI)cultural exchanges. As part of the BRI international art project, more than 100 artists from over 30 countries and regions have conducted researches and paintings in countries along the BRI for five years. They made great efforts     2    (promote) Chinese art around the world. While taking in foreign artistic form, modern Chinese art writes a new chapter in building a   community of a    3    (share)future for mankind.

2 . 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 Dragon Head-raising Day, or the Longtaitou Festival, also known as the Eryue’er Festival, is a traditional Chinese festival     1     falls on the second day of the second lunar month.

The dragon is considered to be the god of rain, which is important in ancient agriculture (农业) in Chinese culture. It     2     (believe) that on this day the rain bringing Dragon King will awake from winter sleep and lift his head, marking     3     beginning of spring and the farming season. In ancient times, farming was     4     (high) dependent on the weather and proper rainfall and plenty of sunlight     5     (be) necessary for a good harvest. So Dragon Head raising Day is about     6     (honour) the dragon and wishing for good weather in spring.

Although some traditional ways     7     (celebrate) the day are no longer practiced, some do remain. People do a     8     (various) of things on that day, ranging from preparing some special dishes with dragon names     9     performing Shehuo, a form of folk art performed during festivals. Villagers also gather in the temples and celebrate with folk     10     (activity) to wish for a good harvest and lucky year ahead.

3 . 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。

Picture yourself traveling along the ancient Silk Road. The air     1     (fill) with the pleasant sound of camel (骆驼) bells, the appealing smell of spices, and the rising steam from cooking pots. In this diverse scene, traders exchange not only silks and treasures but also lamb kebabs     2     (dance) on open fires, hand-pulled noodles moving like acrobats (杂技演员), and sweet-smelling rice dishes shining with spice diamonds.     3     they are lamb kebabs or hand-pulled noodles, each offering tells a story of trade and the harmonious mixing of cultures.

4 . Skill of copying and moving images onto paper is an art form shining in history, Zhao Xu reports. Rubbing, the tracing (描摹) of characters onto a piece of paper, reached its golden age during the Song Dynasty (960-1279).

To do this, a thin piece of paper was placed over the surface of the stone tablet (石板) carved with characters. Then water, or later, ink, was applied smoothly to the back of the paper with just the right amount of pressure, to soften the paper and allow for a total moving of the details onto it. The paper was left to dry and then be lifted off the stone surface, carrying with it a copy of the original (原作).

Repeated hundreds of thousands of times during the Song era, this hands-on skill enabled educated members of Song society to have a chance to learn from master calligraphic works either from their own times or from earlier dynasties. Oftentimes, the original calligraphy, or even its stone version, became lost over time, thus making the rubbings the only surviving copy of the masterworks that had once existed. In that sense, the Song rubbings, and those behind them; have helped to preserve a cultural relic much valued then and now.

Now, art lovers have the chance to visit it at an exhibition (展览) held at Beijing’s Palace Museum themed the Song rubbings. Of the 40 pieces on show, 20 are drawn from the collection of the Palace Museum, which holds a total of 150 Song rubbings. The other half are lent for the first time by the Art Museum of the Chinese University of Hong Kong (CUHK), whose collection of rubbings were donated by J. S. Lee.

“What we have here is not just a showcase of the beauty of ink and paper, the art of calligraphy, carving and rubbing, but also the telling of stories shining in cultural pride and common spirit,” said Wang Xudong, director of the Palace Museum.

1. What do we know about rubbing?

A．There were five steps to make a rubbing.	B．It moved characters from paper to a stone.
C．It was well developed in the Song Dynasty.	D．Pressure was applied to the paper to smooth it.

2. What is paragraph 3 mainly about?

A．The development of rubbing.	B．The importance of rubbing.
C．The process of rubbing.	D．The loss of rubbing.

3. What does paragraph 4 suggest?

A．Altogether there are 150 rubbings on show.

B．Twenty of the rubbings were donated by CUHK.

C．Sources of the exhibits are from two organizations.

D．190 Song rubbings are housed in the Palace Museum now.

4. How does Wang Xudong feel about the exhibition?

A．Proud.

B．Shocked.

C．Thankful.

D．Worried.

5. Where is the text most probably taken from?

A．A research paper.	B．A brochure.
C．A guidebook to a museum.	D．A section of a newspaper.

5 . When I first met Nao Junior, he was in his 40s and one of only nine members of his Indigenous(土著的) group, Great Andamanese, who still spoke the idiom of his ancestors. As a language specialist, I had researched more than 80 Indian languages. I was on the islands to document their Indigenous voices before they faded into whispers.

Words in this language consisted of two classes: free and bound. The free words were all nouns that referred to the environment and its inhabitants, such as ra for “pig”. They could occur alone. The bound words were nouns, verbs, adjectives and adverbs that always existed with markers indicating a relation to other objects, events or states. The markers came from seven zones of the body and were attached to a root word to describe concepts such as “inside”, “outside”, “upper” and “lower”. For example, the morpheme(词素) er-, which qualified most anything having to do with an outer body part, could be stuck to -cho to yield ercho, meaning “head”.

Just as a head, a bound word, could not conceptually exist on its own, the mode and effect of an action could not be divided from the verb describing the action. Great Andamanese had no words for agriculture but a great many for hunting and fishing, mainly with a bow and arrow. Thus, the root word shile, meaning “to aim”, had several versions: utshile, to aim from above; arashile, to aim from a distance; and eshile, aiming to make a hole with a sharp object.

The studies established that the language seems to be truly old in origin. In a multistage process of development, words describing diverse body parts had changed into morphemes referring to different zones and combined with content words to yield meaning. The structure alone provides an insight into an ancient worldview in which the macrocosm(宏观世界) reflects the microcosm, and everything that is or that happens inseparably connects to everything else.

1. What is the purpose of the author’s stay on the islands?

A．To meet with an old friend.	B．To teach Indigenous idioms.
C．To record an ancient language.	D．To trace her ancestors.

2. “Aim at a pig’s head from afar” in Great Andamanese may be ______.

A．Arashile raercho	B．Arashile ercho
C．Eshile ercho	D．Eshile raercho

3. What can we infer from the verbs in Great Andamanese?

A．A verb could describe more than one action.	B．Some of the verbs could be used on their own.
C．The locals probably live off seafood and meat.	D．The tools used in people’s daily life are diverse.

4. What does the last paragraph mainly talk about?

A．Great Andamanese is the origin of multiple languages.

B．Great Andamanese is a doorway to the ancient wisdom.

C．Great Andamanese tells the development of the community.

D．Human body shapes Great Andamanese’s unique worldview.

6 . Traditional Chinese medicine (TCM) is an ancient system of health and wellness that’s been used in China for thousands of years. It has saved millions of lives around China’s vast territory by providing vital information on diagnosis (诊断), treating common medical problems and diseases, and emphasizing prevention. If you do not have previous experience with Chinese culture or medicine, be prepared for a cultural experience.     1    

Several thousand years ago, The Medical Classic of the Yellow Emperor put forward the principle that one should develop yang energy in spring and summer,     2     And in China’s long history, the principle has proven of great value for good health and longevity of life.

According to TCM theory, yang energy is the power for inner organs.     3     “Summer treatment” takes advantage of abundant yang energy in nature during summer, when yang energy is outward and upward. It is the right time to supplement (补充) yang energy by internal or external traditional Chinese medicine methods. This helps to adjust to the balance of yin and yang in the body, resulting in a more effective outcome.

    4     Therefore, it is the best time for the human body to supplement essence and store vital substances throughout the whole year. TCM holds that Gao Fang, the cream formula, is the best choice for tonification (滋补) in winter. By adjusting qi, blood, yin and yang of the body, it can achieve the effects of treatment, regulation, and nourishment.

“Sprouting in spring, growing in summer, harvesting in autumn and storing in winter” is the law of development in the nature.     5     It needs to be in agreement with timing and the seasons. With such direction, ancient Chinese people handed down to later generations medical texts for an orderly-arranged daily life.

A．while protecting yin energy in autumn and winter.

B．It’s necessary to the function of various body parts.

C．The same is true for the way of health preservation.

D．when the body engages in active digestive processes.

E．It will relieve your medical condition and enrich your life.

F．Winter is the season for storage of everything, including energy.

G．Summer is a good season to build up your bodies through exercise.

7 . Weddings are one of life’s biggest celebrations, and they are observed in just about every country and culture on the planet. Here are some wedding traditions from around the world.

Scotland

Scottish weddings usually feature the handfasting ceremony. During the ceremony, the bride (新娘) and bridegroom each hold a piece of cloth. These are carefully wound around the couple’s joined hands. When they pull their hands apart, the pieces become tied into a knot (结) — a symbol of the new union.

Germany

Guests at a German wedding get to see an interesting sight: the newly married couple — still dressed in their suit and wedding dress — cutting a length of a tree in half with a two-person saw (锯). In this way, they show their ability to work as a team to face any challenge they will meet in life.

Norway

A Norwegian wedding cake is made up of progressively smaller layers of iced cake rings, which give the cake the shape of Christmas tree. The inside is empty and has gifts or even a bottle of wine. The bride and g room lift the top ring of the cake, and the number of layers that stick to it is said to represent the number of children they will have!

England

Brides in England typically wear “something old, something new, something borrowed, and something blue” for their big day. The modern practice comes from a traditional English song, and the things themselves represent protection, cheerfulness, good luck, and purity, respectively.

Though the customs might vary, the feeling remains the same. Across the world, weddings are times to celebrate love, happiness, and family.

1. Why is a two-person saw used in the German wedding?

A．To entertain the wedding guests.	B．To mark the couple’s united efforts.
C．To represent the upcoming challenges.	D．To keep the couple from hurting each other.

2. In which wedding do brides wear different things to represent different wishes?

A．The Scottish wedding.	B．The German wedding.
C．The Norwegian wedding.	D．The English wedding.

3. What does the text show about wedding?

A．Rules to follow.	B．Special customs.
C．Ways to treat guests.	D．Cultural backgrounds.

8 . With the arrival of the summer heat, cultural-themed ice creams are once again trending across social media platforms in China.

Museums, scenic spots, amusement parks and even universities have once again rolled out their unique cultural-themed ice creams this year. These ice creams are often tiny copies of famous landmarks or cultural relies that offer visitors a delight for the taste buds.

The trend of cultural-themed ice creams began in 2019 when the Old Summer Palace in Beijing was one of the first scenic spots in China to introduce lotus-shaped ice creams. It was inspired by that in 2017 eleven ancient lotus(莲花)seeds were discovered in a pool at the Old Summer Palace. Six of these ancient lotus seeds bloomed in the summer of 2019. So to mark the occasion, staff at the Old Summer Palace designed ice creams shaped like lotus blossoms. These ice creams were widely loved by visitors, not only serving as a cold treat but also offering a unique way for visitors to sample and connect with their cultural heritage.

To protect their cultural relics, many museums have put up signs prohibiting photography or the use of a flash. However, cultural-themed ice creams provide an alternative way for visitors to catch memories of their visit. Various flavors offer visitors a choice of colors and ingredients for the ice cream, which reflect the local characteristics and charm of these cold treats. It is also suggested by the museums that the visitors can take the carved ice cream bars home with them to use as bookmarks.

For many young people, taking photos of themselves standing alongside cultural landmarks is an artistic preference from their parents’ generation. To them, a selfie(自拍)with a cultural -themed ice cream is a much cooler way to show off their travel experiences and bridge the gap between modern life and distant historical relics.

1. What can we learn about cultural-themed ice creams from the first two paragraphs?

A．Visitors spend much money on them.	B．They may be shaped like landmarks.
C．Visitors are eager to try their taste.	D．They are made due to summer heat.

2. What inspired the idea of cultural-themed ice creams?

A．The Old Summer Palace.	B．The wide love by visitors.
C．The blossoms of the six seeds.	D．The discovery of ancient lotus.

3. For what are cultural-themed ice creams well-received?

A．Protecting cultural relics.	B．Remembering one’s visit.
C．Being used as bookmarks.	D．Offering visitors various flavors.

4. Why do the youth take the selfie with a cultural-themed ice cream?

A．To do something different.	B．To bridge the gap with their parents.
C．To show off their cooler way to travel.	D．To show their connection with culture.

9 . 阅读下面材料，在空白处填入适当的内容 (1个单词) 或括号内单词的正确形式。

The Cultural Landscape of Old Tea Forests of the Jingmai Mountain in Pu’er gained the World Heritage Site status on September17^th 2023, becoming China’s first World Heritage Site related     1     tea.

The heritage site, located in Lancang Lahu Autonomous County in Pu’er, Yunnan Province,     2     (consist) of five old tea forests and nine ancient villages. Jingmai Mountain is one of the world’s largest ancient tea forest     3     (site) . What most people do not know is     4     Jingmai Mountain is home to more than 1 million tea trees, most of which are over 100 years old.

In the long history, local people developed     5     unique tea growing technique on the basis of fully understanding nature with     6     (they) wisdom. The technique allows small tea trees     7     (grow) under the shades (树荫) of taller trees. It not only creates proper light conditions, but also serves as an effective measure to prevent insect attack,     8     (produce) an ideal environment for tea trees.

Originated in China, tea became popular     9     (global) over time. And Jingmai heritage site stands as a     10       (remark) example of harmonious interactions between humans and the natural environment.

10 . 阅读下面材料，在空白处填入适当的内容(1个单词)或括号内单词的正确形式。

China’s tea culture can be traced as far back to before 2000 BC. The Shennong Emperor discovered tea when a leaf fell into boiled water he was drinking, beginning a tradition that still     1     (exist) nowadays.

During the Tang dynasty(618-907) in China, the culture of tea underwent a remarkable development. When Emperor Lu Yu     2     (author) the highly regarded Classic of Tea (茶经), he set off on a journey that would play a critical role in establishing tea’s cultural     3     (significant) in China. Lu Yu, a monk who later earned fame     4     the’Sage of Tea’ (茶圣), had an enormous impact on the spread of tea drinking and linked     5     to Buddhist ideas, including the harmony and mysteries of the universe. The Classic of Tea is the oldest     6     (know) guide to tea drinking and culture. It covers all aspects of tea culture, from growing to harvesting, producing as well as techniques for farmers and craftsmen     7     (produce) the finest teas.

Throughout the Tang dynasty,     8     culture of tea drinking spread quickly among scholars. Inspired by Lu Yu’s ideas, they added medicinal qualities to tea, praised for     9     (sharpen) the mind. At the same time, wine was falling out of favour for their alcoholic properties, paving a path for tea to spread throughout society     10     to be used in religious occasions and offerings.