IELTS Real Reading Test 2026 - Q2 Test 3 with Practice Test, Answers And Explanation
Luyện tập đề IELTS Real Reading Test 2026 - Q2 Test 3 được lấy từ cuốn sách Real Test 2026 - Q2 với trải nghiệm thi IELTS trên máy và giải thích đáp án chi tiết bằng Linearthinking, kèm answer key và list từ vựng IELTS cần học trong bài đọc.
IELTS Real Reading Test 2026 - Q2 Test 3 with Practice Test, Answers And Explanation
Passage
❓ Câu hỏi passage 1
Question 1 - 8
The Reading Passage has eight paragraphs A-H.
From the list of headings below choose the most suitable heading for each paragraph.
Write the appropriate numbers i-x.
List of Headings
I
Not enough tea to meet demand
II
Religious objections
III
In – and sometimes out – of fashion
IV
A connection between tea and religion
V
A luxury item
VI
News of tea reaches another continent
VII
Is tea a good or a bad thing?
VIII
A chance discovery
IX
Tea-making as a ritual
X
Difficulties in importing tea
1
Paragraph A
2
Paragraph B
3
Paragraph C
4
Paragraph D
5
Paragraph E
6
Paragraph F
7
Paragraph G
8
Paragraph H
Question 9 - 13
Look at the following statements and the list of countries below.
Match each statement with the correct country, A-G.
Write the correct letter, A-G.
List of Findings
A
China
B
Japan
C
Portugal
D
Holland
E
France
F
England
G
Russia
9
Claims that tea might be harmful failed to affect its popularity.
10
Tea lost favour to other drinks.
11
Special buildings were constructed in which to drink tea.
12
Animals were involved in importing tea.
13
A ruler's specialist knowledge led to an interest in tea.
Passage
❓ Câu hỏi passage 2
Question 14 - 19
Look at the following descriptions and the list of automobile brands below.
Match each description with the correct automobile brand, A–G.
List of Findings
A
Ford
B
the BMC Mini
C
Cadillac and Lincoln
D
Mercedes Benz
E
Mazda
F
Jeep
G
Maserati, Ferrari, and Lancia
14
began producing the first automobiles
15
produced the industrialised cars that common consumers could afford
16
improved the utilisation rate of automobile space
17
upgraded the overall performance of the car continuously
18
maintained leading growth even during an economic recession
19
installed its engine on the front wheel for the first time
Question 20 - 25
Answer the questions below.
Choose NO MORE THAN THREE WORDS AND/OR A NUMBER from the passage for each answer.
20
What is the important feature owned by the modern engine since the 19th century?
21
What did a car symbolise to the rich at the very beginning of this century?
22
How long did the Ford assembly line take to produce a car?
23
What is the major historical event that led American cars to suffer when competing with Japanese imported cars?
24
What do people call the Mazda car which was designed under the front-wheel engine?
25
What has greatly increased with the computerised engine management systems in modern society?
Question 26
Choose the correct letter, A, B, C or D.
Write the correct letter in boxes on your answer sheet.
26
What is the main idea of the passage?
A
The influence of the cars on the environment
B
The historical development and innovation in car designs
C
The beginning of the modern designed gasoline engines
D
The history of human and the Auto industry
Passage
❓ Câu hỏi passage 3
Question 27 - 32
Do the following statements agree with the information given in Reading Passage?
In following statements below, choose
YES if the statement agrees with the information
NO if the statement contradicts the information
NOT GIVEN if it is impossible to say what the writer thinks about this
27
The writer changed her mind about spending time in Tasmania.
28
Andrew Bain believes that the effect MONA had on Hobart was immediate.
29
Other factors have contributed as much as MONA to Hobart's transformation.
30
The Tourism Industry Council of Tasmania works closely with the director of MONA.
31
Many local residents are writing to The Mercury expressing concern about the length of tourists' stays in Hobart.
32
Tourists now regard MONA as a starting point for longer trips in Tasmania.
Question 33 - 37
Choose the correct letter, A, B, C or D.
Write the correct letter in boxes on your answer sheet.
33
Luke Martin plans to promote tourism in Tasmania by
A
focusing more on MONA as the leading attraction.
B
combining trips to MONA with visits to other galleries.
C
encouraging visitors to do activities that are not connected with art galleries.
D
improving the quality of promotional information about Tasmania's galleries.
34
According to the writer, what is especially interesting about MONA?
A
the man who founded the gallery
B
its location close to a river
C
visitors' responses to the gallery spaces
D
the striking architecture of the building
35
Why do visitors spend a long time at the gallery?
A
There is a great number of exhibits.
B
Visitors tend to come in family groups.
C
Many of the works are difficult to understand.
D
The gallery has a physical effect on visitors.
36
What does the writer say about the visitors to MONA?
A
Older people spend longer there than younger people do.
B
A wide variety of people are interested in MONA.
C
The majority of visitors are young people.
D
The visitors are representative of gallery enthusiasts generally.
37
Why does the writer mention the coins at MONA?
A
to illustrate how interesting they are to visitors to modern galleries
B
to explain why they are displayed in a separate section of the gallery
C
to argue that Walsh's collection is among the best in the world
D
to express admiration for the way that the exhibits are presented
Question 38 - 40
Complete the summary using the list of words, A-H, below.
Write the correct letter, A-H, in boxes on your answer sheet.
The Bilbao Effect
MONA has huge appeal for visitors to Hobart, just as Gehry's Guggenheim Museum has for Bilbao. While MONA may lack the effect of the Guggenheim, David Walsh explains that MONA's architect had a different objective when designing MONA: unlike the architectural showcasing of the Guggenheim, with MONA there was a major that needed to be dealt with; the gallery was set beneath the ground. In any case, both galleries have transformed their cities, just as successful public buildings have for thousands of years. It remains to be seen how the of David Walsh will be expanded upon in Tasmania.
A
challenge
B
pipe
C
visual
D
contribution
E
lasting
F
essential
G
ambition
H
attraction
DOL IELTS Đình Lực
22/10/2026
📖 Bài đọc passage 1
A Brief History of Tea
A
A. The story of tea began in ancient China over 5,000 years ago. According to legend, the Emperor Shen Nung was a skilled ruler, creative scientist and patron of the arts. His far-sighted edicts required, among other things, that all drinking water be boiled as a hygienic precaution. One summer day, while visiting a distant region of his realm, he and the court stopped to rest. In accordance with his ruling, the servants began to boil water for the court to drink. Dried leaves from a nearby bush fell into the boiling water, and as the leaves infused the water turned brown. As a scientist, the Emperor was intrigued by the new liquid, drank some, and found it very refreshing. And so, according to legend, tea was created.
B
B.
Tea consumption spread throughout Chinese culture, reaching into every aspect of society. The first definitive book was written on tea – a book clearly reflecting Zen Buddhist philosophy – 1,200 years ago. The first tea seeds were brought to Japan by a returning Buddhist priest, who had seen the value of tea in enhancing meditation in China. As a result, he is known as the "Father of Tea" in Japan. Because of this early association, tea in Japan has always been linked with Zen Buddhism. Tea received the Japanese Emperor's support almost instantly and spread rapidly from the royal court and monasteries to other sections of society.
C
Tea was elevated to an art form in the Japanese tea ceremony, in which supreme importance is given to making tea in the most perfect, most polite, most graceful, most charming manner possible. Such a purity of expression prompted the creation of a particular form of architecture for tea houses, duplicating the simplicity of a forest cottage. The cultural/artistic hostesses of Japan, the geishas, began to specialise in the presentation of the tea ceremony. However, as more and more people became involved in the excitement surrounding tea, the purity of the original concept was lost, and for a period the tea ceremony became corrupted, boisterous and highly embellished. Efforts were then made to return to the earlier simplicity, with the result that, in the 15th and 16th centuries, tea was viewed as the ultimate gift. Even warlords paused for tea before battles.
D
While tea was at this high level of development in parts of Asia, information concerning the then-unknown beverage began to filter back to Europe. Earlier traders had mentioned it, but were unclear as to whether tea should be eaten or drunk. The first European to personally encounter tea and write about it was Portuguese – Portugal, with her technologically advanced navy, had been successful in gaining the first right of trade with China.
E
Tea finally arrived in Europe in the 16th century, brought to Holland by the country's navy, and became very fashionable in the Dutch capital, The Hague. This was due in part to tea being very expensive (over $100 per pound), which immediately made it the domain of the wealthy. Slowly, as the amount of tea imported increased, the price fell, and by 1675 it was available in common food shops throughout Holland.
F
As the consumption of tea increased dramatically in Dutch society, doctors and university authorities in Holland argued as to its benefits or drawbacks. The public largely ignored the scholarly debate and continued to enjoy their new beverage, though the controversy lasted from 1635 to roughly 1657. Throughout this period, France and Holland led Europe in the use of tea.
G
As the craze for all things oriental swept through Europe, tea became part of everyday life. Adding milk to the drink was first mentioned in 1680. Around that time, Dutch inns provided the first restaurant service of tea. Innkeepers would furnish guests with a portable tea set complete with a heating unit. The Dutchman would then prepare tea for himself and his friends outside in the inn garden. Tea remained popular in France for only about fifty years, being replaced by a preference for wine, chocolate and exotic coffees. Tea was introduced into England in 1660 by King Charles II and his Portuguese queen, who were both confirmed tea drinkers. Tea mania swept across England as it had earlier spread throughout France and Holland. By 1708, tea importation had risen to thirteen times the 1699 level. Tea was drunk by all levels of society.
H
Russian interest in tea began as early as 1618, when the Chinese embassy in Moscow presented several chests of tea to the Emperor, Czar Alexis. Later in the century, a trade treaty between Russia and China allowed caravans to cross back and forth freely between the two countries. Still, the journey was not easy. The average caravan consisted of 200 to 300 camels, and the 18,000-kilometre trip took over 16 months to complete. Eventually, however, tea became – as it still is – one of the most popular drinks in the country.
🔥 Đáp án & giải thích 1
1
VIII
Giải thích chi tiết
✅ Áp dụng Linearthinking để đọc đoạn văn
✅ Chọn đáp án:H. A chance discovery
Vì sao chọn đáp án này: Đoạn văn kể lại việc trà được phát hiện ra một cách tình cờ. Hoàng đế không chủ động tạo ra trà; chỉ vì lá khô vô tình rơi vào nước sôi, rồi ông uống thử và thấy dễ chịu. Trọng tâm đoạn là sự khám phá ngẫu nhiên này.
❌ Những cái tên dễ chọn nhầm
Nếu skim/scan theo từ khoá, có thể chọn D. A connection between tea and religion vì đoạn có nhắc đến hoàng đế, truyền thuyết, và không khí cổ xưa nghe hơi “mang tính tinh thần”.
Nhưng đoạn này không hề nói trà gắn với tôn giáo hay hoạt động tôn giáo nào cả. Trọng tâm chỉ là nguồn gốc tình cờ của trà.
Cũng có thể chọn I. Tea-making as a ritual vì thấy có cảnh đun nước, phục vụ triều đình, rồi uống trà.
Nhưng đây không phải nghi thức pha trà hay một quy trình được tôn vinh thành ritual. Việc đun nước ban đầu chỉ là để đảm bảo vệ sinh; trà xuất hiện do tai nạn ngẫu nhiên, không phải do một nghi lễ có chủ đích.
Ngoài ra, nếu chỉ nhìn câu đầu “began in ancient China”, có thể chọn F. News of tea reaches another continent vì tưởng đoạn nói về sự lan truyền của trà.
Nhưng đoạn này chưa nói về việc tin tức hay trà lan sang nơi khác; nó chỉ kể trà bắt đầu như thế nào.
The start of the automobile’s history went all the way back to 1769 when automobiles running on the steam engine were invented as carriers for human transport. In 1806, the first batch of cars powered by an internal combustion engine came into being, which pioneered the introduction of the widespread modern petrol-fueled internal combustion engine in 1885.
It is generally acknowledged that the first practical automobiles equipped with petrol/gasoline-powered internal combustion engines were invented almost at the same time by different German inventors who were working on their own. Karl Benz first built the automobile in 1885 in Mannheim. Benz attained a patent for his invention on 29 January 1886, and in 1888, he started to produce automobiles in a company that later became the renowned Mercedes-Benz.
As this century began, the automobile industry marched into the transportation market for wealth. Drivers at that time were an adventurous bunch; they would go out regardless of the weather condition even if they weren't even protected by an enclosed body or a convertible top. Everybody in the community knew who owned what car, and cars immediately became a symbol of identity and status. Later, cars became more popular among the public since it allowed people to travel whenever and wherever they wanted. Thus, the price of automobiles in Europe and North America kept dropping, and more people from the middle class could afford them. This was especially attributed to Henry Ford who did two crucial things. First, he set the price as reasonable as possible for his cars; second, he paid his employees enough salaries so that they could afford the cars made by their very own hands.
The trend of interchangeable parts and mass production in an assembly line style had been led by America, and from 1914, this concept was significantly reinforced by Henry Ford. This large-scale, production-line manufacture of affordable automobiles debuted. A Ford car would come off all assembled from the line every 15 minutes, an interval shorter than any of the former methods. Not only did it raise productivity, but also cut down on the requirement for manpower. Ford significantly lowered the chance of injury by carrying out complicated safety procedures in production—particularly assigning workers to specific locations rather than giving them the freedom to wander around. This mixture of high wages and high efficiency was known as Fordism, which provided a valuable lesson for most major industries.
The first Jeep automobile that came out as the prototype Bantam BRC was the primary light 4-wheel-drive automobile of the U.S. Army and Allies, and during World War II and the postwar period, its sale skyrocketed. Since then, plenty of Jeep derivatives with similar military and civilian functions have been created and kept upgraded in terms of overall performance in other nations.
Through all the 1950s, engine power and automobile rates grew higher, designs evolved into a more integrated and artful form, and cars were spreading globally. In the 1960s, the landscape changed as Detroit was confronted with foreign competition. The European manufacturers used the latest technology, and Japan came into the picture as a dedicated car-making country. General Motors, Chrysler, and Ford dabbled with radical tiny cars such as the GM A-bodies with little success. As joint ventures such as the British Motor Corporation unified the market, captive imports and badge imports swept all over the US and the UK. BMC first launched a revolutionary space-friendly Mini in 1959, which turned out to harvest large global sales. Previously remaining under the Austin and Morris names, Mini later became an individual marque in 1969. The trend of corporate consolidation landed in Italy when niche makers such as Maserati, Ferrari, and Lancia were bought by larger enterprises. By the end of the 20th century, there had been a sharp fall in the number of automobile marques.
In the US, car performance dominated marketing, justified by the typical cases of pony cars and muscle cars. However, in the 1970s, everything changed as the American automobile industry suffered from the 1973 oil crisis, competition with Japanese and European imports, automobile emission-control regulations* and moribund innovation. The irony in all this was that full-size sedans such as Cadillac and Lincoln scored a huge comeback between the years of economic crisis.
In terms of technology, the most mentionable developments that the postwar era had seen were the widespread use of independent suspensions, broader application of fuel injection, and a growing emphasis on safety in automobile design. Mazda achieved many triumphs with its engine firstly installed in the fore-wheel, though it gained itself a reputation as a gas-guzzler.
The modern era also has witnessed a sharp elevation of fuel power in the modern engine management system with the help of the computer. Nowadays, most automobiles in use are powered by an internal combustion engine, fueled by gasoline or diesel. Toxic gas from both fuels is known to pollute the air and is responsible for climate change as well as global warming.
🔥 Đáp án & giải thích 2
14
D
Giải thích chi tiết
✅Phân tích câu hỏi (Matching Names)
Simplified: began producing the first automobiles .
Ý câu hỏi: Cần tìm tên hãng xe gắn với ý: bắt đầu sản xuất ô tô từ rất sớm / những chiếc ô tô đầu tiên.
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✅Đọc thông tin liên quan theo Linearthinking
Thông tin nằm ở đoạn nói về Karl Benz:
Simplified: Karl Benz first built the automobile in 1885 in Mannheim .
Benz attained a patent for his invention on 29 January 1886 , and in 1888 , he started to produce automobiles in a company that later became the renowned Mercedes-Benz.
Về Connections:
Câu 1 nói Karl Benz chế tạo chiếc ô tô đầu tiên.
Câu 2 nói tiếp ông bắt đầu sản xuất ô tô, và công ty đó sau này trở thành Mercedes-Benz.
➡️ Ý chung:Mercedes-Benz là cái tên gắn với việc bắt đầu sản xuất những chiếc ô tô đầu tiên.
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✅Đối chiếu giữa bài đọc và đáp án
Đáp án: D. Mercedes Benz
=> Bài đọc không viết y chang “Mercedes-Benz began producing the first automobiles”, mà viết theo chuỗi ý:
Karl Benz làm ra chiếc ô tô đầu tiên → sau đó bắt đầu sản xuất ô tô trong công ty sau này trở thành Mercedes-Benz.
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❌ Những cái tên dễ chọn nhầm
A. Ford
Dễ nhầm vì Ford rất nổi tiếng trong lịch sử ô tô và có ý mass production / assembly line / affordable automobiles. Nhưng đoạn về Ford chỉ nói ông cải tiến sản xuất hàng loạt và giảm giá thành, không phải người bắt đầu sản xuất những chiếc ô tô đầu tiên.
B. the BMC Mini
Đoạn này nói Mini được launched in 1959 và bán rất chạy toàn cầu. Đây là một mẫu xe nổi bật về thiết kế nhỏ gọn, không liên quan đến giai đoạn đầu tiên của việc sản xuất ô tô.
F. Jeep
Jeep gắn với quân đội Mỹ, World War II, và doanh số tăng mạnh sau đó. Không liên quan tới việc bắt đầu sản xuất ô tô đầu tiên.
C. Cadillac and Lincoln
Chỉ được nhắc đến trong bối cảnh full-size sedans trở lại mạnh mẽ ở Mỹ trong thời kỳ khủng hoảng kinh tế, không phải giai đoạn khởi đầu của ngành ô tô.
Katelin Butler, returning to her home city of Hobart, reflects on how a new museum has brought about change.
As an eighteen-year-old living in the small Australian island state of Tasmania, moving to the 'mainland' could not happen soon enough. Now, ten years later, I look forward to going home. This is probably because I've grown up, but also perhaps because the cultural landscape of Tasmania has matured. The latest addition to Tasmania's cultural scene is David Walsh's Museum of Old and New Art (MONA), a museum that has established Hobart, the capital city of Tasmania, on the global art circuit.
This building is an example of how art and architecture can have an instant impact on the social and cultural reputation of a place. Andrew Bain of The Sydney Morning Herald wrote, 'In a virtual blink, Hobart's cultural landscape has been transformed, with art, wine, fine food and stylish accommodation becoming integral features of the city ... If Hobart's makeover has an origin, it's the opening of MONA – the Museum of Old and New Art.' MONA is said to have been solely instrumental in the reinvention of Hobart as a cultural hub.
MONA made the national press and international blogs before it opened. After that, Tourism Industry Council of Tasmania's chief executive, Luke Martin, claimed that MONA was proving so popular it was underpinning the tourism industry in Tasmania. However, MONA's effect on Hobart has broader ramifications for Tasmania's tourism industry. As reported in Hobart's local paper, The Mercury, there is concern about how long people are staying in Tasmania. Rather than spending a week in the state and hiring a car to experience the beauty of the Tasmanian landscape, people are making short stays in Hobart only to visit the gallery. The next challenge for the state is how to entice holidaymakers to stay longer, and to venture further afield. Tasmania is more than a one-hit wonder.
According to Martin, possibilities for packaging up MONA with visits to other galleries around Tasmania are being investigated. Although not directly related to these investigations, the 1891 Queen Victoria Museum and Art Gallery at Royal Park in Launceston is currently being restored to its original condition; there are also plans to extensively redevelop the Tasmanian Museum and Art Gallery in Hobart. In addition to this, there are up to twenty other existing quality galleries in the state. So there is more to see than just MONA.
Although large, the building is rather nondescript, sitting heavily on the edge of the Derwent River. MONA's 'wow factor' comes from the notoriety of David Walsh, the museum's millionaire founder, and his choice of unusual artworks. The architecture has more depth of meaning and does exactly as it should: it supports the vision of the museum, essentially the vision of Walsh. It's a new building in the context of a maturing city. The dark, moody labyrinth of gallery spaces could be likened to the mind of the eccentric founder himself. Each artwork appears to be integrated into the dark materiality of the architecture – the interiors are far from light, bright and neutral, as might be seen in a more traditional gallery. The dim lighting and rough, rocky surfaces are a reminder that visitors are three levels underground.
The warped, mirrored surface at the museum's entry could be seen as the start of a journey of reflecting on one's existence. Much of the art explores the human condition – there are uninhibited artistic descriptions of human relationships, death, and even the digestion process. Going to a gallery with such confronting artworks with your parents is an interesting experience; I was pleasantly surprised by my parents' openness to the exhibitions. My father, who normally whisks through a gallery while my mother likes to take her time, happily spent almost five hours at MONA; the urge to linger is a common feeling here. This is because the gallery engages all of the senses, and visitors often pause to experience the effect each artwork has on them. This raises the question of who is actually visiting MONA – and it's definitely not just the normal gallery-goers. People from all kinds of socioeconomic backgrounds are curious about what lies within the subterranean maze of MONA. Conservative minds are being opened, which is a good thing anywhere.
Walsh's antiquities collection is superb, but he knew that old coins would compete for attention against new works that are more challenging in scale and subject matter, hence the device of setting antiquities among twentieth- and twenty-first-century works. For me, one of the intriguing outcomes of this strategy was an intensified feeling that the makers of the coins and antiquities were the great contemporary artists of their time.
The so-called Bilbao Effect has worked its magic on Hobart because, just as Frank Gehry's Guggenheim Museum has transformed the city of Bilbao in Spain, MONA has been a magnet for tourists in Hobart. However, the architectural 'wow' factor of the Guggenheim was the most famous component of that city's transformation, whereas Fender Katsalidis's MONA does not have the same spectacular impact as the shimmering metal surfaces of Gehry's building. Walsh himself abhors descriptions of MONA as the Bilbao of the south, saying that Fender Katsalidis solved a problem when he designed MONA, in executing a project of this scale in an underground location. Walsh contrasts this with what he describes as the "architectural self-indulgence of Gehry when designing the Guggenheim in Bilbao." Call it the Bilbao Effect, but this phenomenon has been around for thousands of years – good public architecture forms the centrepiece of a city. This is probably true, but like the Guggenheim, MONA has initiated something very important for Tasmania, and for Hobart in particular. Now the question is how Tasmania will build on David Walsh's input into its cultural setting.
🔥 Đáp án & giải thích 3
27
Yes
Giải thích chi tiết
✅Step 1: Phân tích câu hỏi
Simplified: The writer changed her mind about spending time in Tasmania .
Ý câu hỏi: Trước đây tác giả không muốn ở Tasmania, nhưng bây giờ thì muốn/quý việc ở đó hơn.
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✅Step 2: Locate bằng chứng
Vì câu hỏi này không có từ khoá đặc biệt kiểu tên riêng / ngày tháng / con số để tìm, ta sẽ đọc nhanh từ đầu đoạn để xem tác giả nói gì về thái độ của mình với Tasmania ở quá khứ và hiện tại.
Cụ thể, khi đọc đến cụm “moving to the 'mainland' could not happen soon enough”, ta sẽ thấy giống với ý trước đây rất muốn rời Tasmania. Sau đó ngay câu tiếp theo là “Now, ten years later, I look forward to going home”, cho thấy bây giờ lại mong được về nhà.
Đây chính là 2 câu bằng chứng quan trọng.
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✅Step 3: Đọc câu bằng chứng theo Linearthinking
Câu 1: As an eighteen-year-old living in (...) Tasmania , moving to the 'mainland' could not happen soon enough .
Câu 2: Now, ten years later, I look forward to going home .
Ý chính: Trước đây, khi 18 tuổi, tác giả rất muốn rời Tasmania càng sớm càng tốt; nhưng mười năm sau, cô ấy mong chờ được trở về nhà.
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✅Step 4: Compare meaning with meaning
Câu hỏi nói: Tác giả đã thay đổi suy nghĩ về việc ở/dành thời gian ở Tasmania.
Bài đọc nói: Trước đây tác giả rất muốn rời Tasmania càng sớm càng tốt, nhưng bây giờ lại mong được về nhà.
⇒ Như vậy: thái độ của tác giả với Tasmania đã thay đổi.
✅ Đáp án: YES
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❌ Những đáp án “bẫy”:
No: dễ sai nếu chỉ thấy câu đầu nói tác giả từng không thích ở Tasmania, rồi nghĩ vậy là phủ định câu hỏi. Nhưng câu hỏi hỏi về việc có thay đổi suy nghĩ hay không, và câu thứ hai cho thấy rõ là có thay đổi.
Not Given: dễ sai nếu chỉ đọc 1 câu đầu và nghĩ bài không nói rõ thái độ hiện tại. Nhưng ngay câu sau có “Now, ten years later, I look forward to going home”, nên thông tin này được cho rõ ràng, không phải Not Given.
Tea consumption spread throughout Chinese culture, reaching into every aspect of society. The first definitive book was written on tea – a book clearly reflecting Zen Buddhist philosophy – 1,200 years ago. The first tea seeds were brought to Japan by a returning Buddhist priest, who had seen the value of tea in enhancing meditation in China. As a result, he is known as the "Father of Tea" in Japan. Because of this early association, tea in Japan has always been linked with Zen Buddhism. Tea received the Japanese Emperor's support almost instantly and spread rapidly from the royal court and monasteries to other sections of society.
C. Tea was elevated to an art form in the Japanese tea ceremony, in which supreme importance is given to making tea in the most perfect, most polite, most graceful, most charming manner possible. Such a purity of expression prompted the creation of a particular form of architecture for tea houses, duplicating the simplicity of a forest cottage. The cultural/artistic hostesses of Japan, the geishas, began to specialise in the presentation of the tea ceremony. However, as more and more people became involved in the excitement surrounding tea, the purity of the original concept was lost, and for a period the tea ceremony became corrupted, boisterous and highly embellished. Efforts were then made to return to the earlier simplicity, with the result that, in the 15th and 16th centuries, tea was viewed as the ultimate gift. Even warlords paused for tea before battles.
D. While tea was at this high level of development in parts of Asia, information concerning the then-unknown beverage began to filter back to Europe. Earlier traders had mentioned it, but were unclear as to whether tea should be eaten or drunk. The first European to personally encounter tea and write about it was Portuguese – Portugal, with her technologically advanced navy, had been successful in gaining the first right of trade with China.
E. Tea finally arrived in Europe in the 16th century, brought to Holland by the country's navy, and became very fashionable in the Dutch capital, The Hague. This was due in part to tea being very expensive (over $100 per pound), which immediately made it the domain of the wealthy. Slowly, as the amount of tea imported increased, the price fell, and by 1675 it was available in common food shops throughout Holland.
F. As the consumption of tea increased dramatically in Dutch society, doctors and university authorities in Holland argued as to its benefits or drawbacks. The public largely ignored the scholarly debate and continued to enjoy their new beverage, though the controversy lasted from 1635 to roughly 1657. Throughout this period, France and Holland led Europe in the use of tea.
G. As the craze for all things oriental swept through Europe, tea became part of everyday life. Adding milk to the drink was first mentioned in 1680. Around that time, Dutch inns provided the first restaurant service of tea. Innkeepers would furnish guests with a portable tea set complete with a heating unit. The Dutchman would then prepare tea for himself and his friends outside in the inn garden. Tea remained popular in France for only about fifty years, being replaced by a preference for wine, chocolate and exotic coffees. Tea was introduced into England in 1660 by King Charles II and his Portuguese queen, who were both confirmed tea drinkers. Tea mania swept across England as it had earlier spread throughout France and Holland. By 1708, tea importation had risen to thirteen times the 1699 level. Tea was drunk by all levels of society.
H. Russian interest in tea began as early as 1618, when the Chinese embassy in Moscow presented several chests of tea to the Emperor, Czar Alexis. Later in the century, a trade treaty between Russia and China allowed caravans to cross back and forth freely between the two countries. Still, the journey was not easy. The average caravan consisted of 200 to 300 camels, and the 18,000-kilometre trip took over 16 months to complete. Eventually, however, tea became – as it still is – one of the most popular drinks in the country.
The start of the automobile’s history went all the way back to 1769 when automobiles running on the steam engine were invented as carriers for human transport. In 1806, the first batch of cars powered by an internal combustion engine came into being, which pioneered the introduction of the widespread modern petrol-fueled internal combustion engine in 1885.
It is generally acknowledged that the first practical automobiles equipped with petrol/gasoline-powered internal combustion engines were invented almost at the same time by different German inventors who were working on their own. Karl Benz first built the automobile in 1885 in Mannheim. Benz attained a patent for his invention on 29 January 1886, and in 1888, he started to produce automobiles in a company that later became the renowned Mercedes-Benz.
As this century began, the automobile industry marched into the transportation market for wealth. Drivers at that time were an adventurous bunch; they would go out regardless of the weather condition even if they weren't even protected by an enclosed body or a convertible top. Everybody in the community knew who owned what car, and cars immediately became a symbol of identity and status. Later, cars became more popular among the public since it allowed people to travel whenever and wherever they wanted. Thus, the price of automobiles in Europe and North America kept dropping, and more people from the middle class could afford them. This was especially attributed to Henry Ford who did two crucial things. First, he set the price as reasonable as possible for his cars; second, he paid his employees enough salaries so that they could afford the cars made by their very own hands.
The trend of interchangeable parts and mass production in an assembly line style had been led by America, and from 1914, this concept was significantly reinforced by Henry Ford. This large-scale, production-line manufacture of affordable automobiles debuted. A Ford car would come off all assembled from the line every 15 minutes, an interval shorter than any of the former methods. Not only did it raise productivity, but also cut down on the requirement for manpower. Ford significantly lowered the chance of injury by carrying out complicated safety procedures in production—particularly assigning workers to specific locations rather than giving them the freedom to wander around. This mixture of high wages and high efficiency was known as Fordism, which provided a valuable lesson for most major industries.
The first Jeep automobile that came out as the prototype Bantam BRC was the primary light 4-wheel-drive automobile of the U.S. Army and Allies, and during World War II and the postwar period, its sale skyrocketed. Since then, plenty of Jeep derivatives with similar military and civilian functions have been created and kept upgraded in terms of overall performance in other nations.
Through all the 1950s, engine power and automobile rates grew higher, designs evolved into a more integrated and artful form, and cars were spreading globally. In the 1960s, the landscape changed as Detroit was confronted with foreign competition. The European manufacturers used the latest technology, and Japan came into the picture as a dedicated car-making country. General Motors, Chrysler, and Ford dabbled with radical tiny cars such as the GM A-bodies with little success. As joint ventures such as the British Motor Corporation unified the market, captive imports and badge imports swept all over the US and the UK. BMC first launched a revolutionary space-friendly Mini in 1959, which turned out to harvest large global sales. Previously remaining under the Austin and Morris names, Mini later became an individual marque in 1969. The trend of corporate consolidation landed in Italy when niche makers such as Maserati, Ferrari, and Lancia were bought by larger enterprises. By the end of the 20th century, there had been a sharp fall in the number of automobile marques.
In the US, car performance dominated marketing, justified by the typical cases of pony cars and muscle cars. However, in the 1970s, everything changed as the American automobile industry suffered from the 1973 oil crisis, competition with Japanese and European imports, automobile emission-control regulations* and moribund innovation. The irony in all this was that full-size sedans such as Cadillac and Lincoln scored a huge comeback between the years of economic crisis.
In terms of technology, the most mentionable developments that the postwar era had seen were the widespread use of independent suspensions, broader application of fuel injection, and a growing emphasis on safety in automobile design. Mazda achieved many triumphs with its engine firstly installed in the fore-wheel, though it gained itself a reputation as a gas-guzzler.
The modern era also has witnessed a sharp elevation of fuel power in the modern engine management system with the help of the computer. Nowadays, most automobiles in use are powered by an internal combustion engine, fueled by gasoline or diesel. Toxic gas from both fuels is known to pollute the air and is responsible for climate change as well as global warming.
attained a patent for his invention
in 1888
he
started to produce automobiles in a company that later became the renowned Mercedes-Benz
As an eighteen-year-old living in the small Australian island state of Tasmania, moving to the 'mainland' could not happen soon enough. Now, ten years later, I look forward to going home. This is probably because I've grown up, but also perhaps because the cultural landscape of Tasmania has matured. The latest addition to Tasmania's cultural scene is David Walsh's Museum of Old and New Art (MONA), a museum that has established Hobart, the capital city of Tasmania, on the global art circuit.
This building is an example of how art and architecture can have an instant impact on the social and cultural reputation of a place. Andrew Bain of The Sydney Morning Herald wrote, 'In a virtual blink, Hobart's cultural landscape has been transformed, with art, wine, fine food and stylish accommodation becoming integral features of the city ... If Hobart's makeover has an origin, it's the opening of MONA – the Museum of Old and New Art.' MONA is said to have been solely instrumental in the reinvention of Hobart as a cultural hub.
MONA made the national press and international blogs before it opened. After that, Tourism Industry Council of Tasmania's chief executive, Luke Martin, claimed that MONA was proving so popular it was underpinning the tourism industry in Tasmania. However, MONA's effect on Hobart has broader ramifications for Tasmania's tourism industry. As reported in Hobart's local paper, The Mercury, there is concern about how long people are staying in Tasmania. Rather than spending a week in the state and hiring a car to experience the beauty of the Tasmanian landscape, people are making short stays in Hobart only to visit the gallery. The next challenge for the state is how to entice holidaymakers to stay longer, and to venture further afield. Tasmania is more than a one-hit wonder.
According to Martin, possibilities for packaging up MONA with visits to other galleries around Tasmania are being investigated. Although not directly related to these investigations, the 1891 Queen Victoria Museum and Art Gallery at Royal Park in Launceston is currently being restored to its original condition; there are also plans to extensively redevelop the Tasmanian Museum and Art Gallery in Hobart. In addition to this, there are up to twenty other existing quality galleries in the state. So there is more to see than just MONA.
Although large, the building is rather nondescript, sitting heavily on the edge of the Derwent River. MONA's 'wow factor' comes from the notoriety of David Walsh, the museum's millionaire founder, and his choice of unusual artworks. The architecture has more depth of meaning and does exactly as it should: it supports the vision of the museum, essentially the vision of Walsh. It's a new building in the context of a maturing city. The dark, moody labyrinth of gallery spaces could be likened to the mind of the eccentric founder himself. Each artwork appears to be integrated into the dark materiality of the architecture – the interiors are far from light, bright and neutral, as might be seen in a more traditional gallery. The dim lighting and rough, rocky surfaces are a reminder that visitors are three levels underground.
The warped, mirrored surface at the museum's entry could be seen as the start of a journey of reflecting on one's existence. Much of the art explores the human condition – there are uninhibited artistic descriptions of human relationships, death, and even the digestion process. Going to a gallery with such confronting artworks with your parents is an interesting experience; I was pleasantly surprised by my parents' openness to the exhibitions. My father, who normally whisks through a gallery while my mother likes to take her time, happily spent almost five hours at MONA; the urge to linger is a common feeling here. This is because the gallery engages all of the senses, and visitors often pause to experience the effect each artwork has on them. This raises the question of who is actually visiting MONA – and it's definitely not just the normal gallery-goers. People from all kinds of socioeconomic backgrounds are curious about what lies within the subterranean maze of MONA. Conservative minds are being opened, which is a good thing anywhere.
Walsh's antiquities collection is superb, but he knew that old coins would compete for attention against new works that are more challenging in scale and subject matter, hence the device of setting antiquities among twentieth- and twenty-first-century works. For me, one of the intriguing outcomes of this strategy was an intensified feeling that the makers of the coins and antiquities were the great contemporary artists of their time.
The so-called Bilbao Effect has worked its magic on Hobart because, just as Frank Gehry's Guggenheim Museum has transformed the city of Bilbao in Spain, MONA has been a magnet for tourists in Hobart. However, the architectural 'wow' factor of the Guggenheim was the most famous component of that city's transformation, whereas Fender Katsalidis's MONA does not have the same spectacular impact as the shimmering metal surfaces of Gehry's building. Walsh himself abhors descriptions of MONA as the Bilbao of the south, saying that Fender Katsalidis solved a problem when he designed MONA, in executing a project of this scale in an underground location. Walsh contrasts this with what he describes as the "architectural self-indulgence of Gehry when designing the Guggenheim in Bilbao." Call it the Bilbao Effect, but this phenomenon has been around for thousands of years – good public architecture forms the centrepiece of a city. This is probably true, but like the Guggenheim, MONA has initiated something very important for Tasmania, and for Hobart in particular. Now the question is how Tasmania will build on David Walsh's input into its cultural setting.
could not happen soon enough
Now, ten years later
I
look forward to going home
As an eighteen-year-old living in the small Australian island state of Tasmania, moving to the 'mainland' could not happen soon enough. Now, ten years later, I look forward to going home. This is probably because I've grown up, but also perhaps because the cultural landscape of Tasmania has matured. The latest addition to Tasmania's cultural scene is David Walsh's Museum of Old and New Art (MONA), a museum that has established Hobart, the capital city of Tasmania, on the global art circuit.
This building is an example of how art and architecture can have an instant impact on the social and cultural reputation of a place. Andrew Bain of The Sydney Morning Herald wrote, 'In a virtual blink, Hobart's cultural landscape has been transformed, with art, wine, fine food and stylish accommodation becoming integral features of the city ... If Hobart's makeover has an origin, it's the opening of MONA – the Museum of Old and New Art.' MONA is said to have been solely instrumental in the reinvention of Hobart as a cultural hub.
MONA made the national press and international blogs before it opened. After that, Tourism Industry Council of Tasmania's chief executive, Luke Martin, claimed that MONA was proving so popular it was underpinning the tourism industry in Tasmania. However, MONA's effect on Hobart has broader ramifications for Tasmania's tourism industry. As reported in Hobart's local paper, The Mercury, there is concern about how long people are staying in Tasmania. Rather than spending a week in the state and hiring a car to experience the beauty of the Tasmanian landscape, people are making short stays in Hobart only to visit the gallery. The next challenge for the state is how to entice holidaymakers to stay longer, and to venture further afield. Tasmania is more than a one-hit wonder.
According to Martin, possibilities for packaging up MONA with visits to other galleries around Tasmania are being investigated. Although not directly related to these investigations, the 1891 Queen Victoria Museum and Art Gallery at Royal Park in Launceston is currently being restored to its original condition; there are also plans to extensively redevelop the Tasmanian Museum and Art Gallery in Hobart. In addition to this, there are up to twenty other existing quality galleries in the state. So there is more to see than just MONA.
Although large, the building is rather nondescript, sitting heavily on the edge of the Derwent River. MONA's 'wow factor' comes from the notoriety of David Walsh, the museum's millionaire founder, and his choice of unusual artworks. The architecture has more depth of meaning and does exactly as it should: it supports the vision of the museum, essentially the vision of Walsh. It's a new building in the context of a maturing city. The dark, moody labyrinth of gallery spaces could be likened to the mind of the eccentric founder himself. Each artwork appears to be integrated into the dark materiality of the architecture – the interiors are far from light, bright and neutral, as might be seen in a more traditional gallery. The dim lighting and rough, rocky surfaces are a reminder that visitors are three levels underground.
The warped, mirrored surface at the museum's entry could be seen as the start of a journey of reflecting on one's existence. Much of the art explores the human condition – there are uninhibited artistic descriptions of human relationships, death, and even the digestion process. Going to a gallery with such confronting artworks with your parents is an interesting experience; I was pleasantly surprised by my parents' openness to the exhibitions. My father, who normally whisks through a gallery while my mother likes to take her time, happily spent almost five hours at MONA; the urge to linger is a common feeling here. This is because the gallery engages all of the senses, and visitors often pause to experience the effect each artwork has on them. This raises the question of who is actually visiting MONA – and it's definitely not just the normal gallery-goers. People from all kinds of socioeconomic backgrounds are curious about what lies within the subterranean maze of MONA. Conservative minds are being opened, which is a good thing anywhere.
Walsh's antiquities collection is superb, but he knew that old coins would compete for attention against new works that are more challenging in scale and subject matter, hence the device of setting antiquities among twentieth- and twenty-first-century works. For me, one of the intriguing outcomes of this strategy was an intensified feeling that the makers of the coins and antiquities were the great contemporary artists of their time.
The so-called Bilbao Effect has worked its magic on Hobart because, just as Frank Gehry's Guggenheim Museum has transformed the city of Bilbao in Spain, MONA has been a magnet for tourists in Hobart. However, the architectural 'wow' factor of the Guggenheim was the most famous component of that city's transformation, whereas Fender Katsalidis's MONA does not have the same spectacular impact as the shimmering metal surfaces of Gehry's building. Walsh himself abhors descriptions of MONA as the Bilbao of the south, saying that Fender Katsalidis solved a problem when he designed MONA, in executing a project of this scale in an underground location. Walsh contrasts this with what he describes as the "architectural self-indulgence of Gehry when designing the Guggenheim in Bilbao." Call it the Bilbao Effect, but this phenomenon has been around for thousands of years – good public architecture forms the centrepiece of a city. This is probably true, but like the Guggenheim, MONA has initiated something very important for Tasmania, and for Hobart in particular. Now the question is how Tasmania will build on David Walsh's input into its cultural setting.
