CAT 2022 Slot 1 · VARC · RC passage 1: Copies, Originals and Identity: China and the West

The full passage and all 4 questions (Q9–Q12) from CAT 2022 Slot 1, with answers and solutions.

The passage below is accompanied by a set of questions. Choose the best answer to each question.

The Chinese have two different concepts of a copy. Fangzhipin . . . are imitations where the difference from the original is obvious. These are small models or copies that can be purchased in a museum shop, for example. The second concept for a copy is fuzhipin . . . They are exact reproductions of the original, which, for the Chinese, are of equal value to the original. It has absolutely no negative connotations. The discrepancy with regard to the understanding of what a copy is has often led to misunderstandings and arguments between China and Western museums. The Chinese often send copies abroad instead of originals, in the firm belief that they are not essentially different from the originals. The rejection that then comes from the Western museums is perceived by the Chinese as an insult. . . .

The Far Eastern notion of identity is also very confusing to the Western observer. The Ise Grand Shrine [in Japan] is 1,300 years old for the millions of Japanese people who go there on pilgrimage every year. But in reality this temple complex is completely rebuilt from scratch every 20 years. . . .

The cathedral of Freiburg Minster in southwest Germany is covered in scaffolding almost all year round. The sandstone from which it is built is a very soft, porous material that does not withstand natural erosion by rain and wind. After a while, it crumbles. As a result, the cathedral is continually being examined for damage, and eroded stones are replaced. And in the cathedral’s dedicated workshop, copies of the damaged sandstone figures are constantly being produced. Of course, attempts are made to preserve the stones from the Middle Ages for as long as possible. But at some point they, too, are removed and replaced with new stones.

Fundamentally, this is the same operation as with the Japanese shrine, except in this case the production of a replica takes place very slowly and over long periods of time. . . . In the field of art as well, the idea of an unassailable original developed historically in the Western world. Back in the 17th century [in the West], excavated artworks from antiquity were treated quite differently from today. They were not restored in a way that was faithful to the original. Instead, there was massive intervention in these works, changing their appearance. . . .

It is probably this intellectual position that explains why Asians have far fewer scruples about cloning than Europeans. The South Korean cloning researcher Hwang Woo-suk, who attracted worldwide attention with his cloning experiments in 2004, is a Buddhist. He found a great deal of support and followers among Buddhists, while Christians called for a ban on human cloning. . . . Hwang legitimised his cloning experiments with his religious affiliation: ‘I am Buddhist, and I have no philosophical problem with cloning. And as you know, the basis of Buddhism is that life is recycled through reincarnation. In some ways, I think, therapeutic cloning restarts the circle of life.’

Question 9 · RC - Questions

Based on the passage, which one of the following copies would a Chinese museum be unlikely to consider as having less value than the original?

  1. A

    Pablo Picasso’s painting of Vincent van Gogh’s original painting, bearing Picasso’s signature.

  2. B

    Pablo Picasso’s painting of Vincent van Gogh’s original painting, identical in every respect.

  3. C

    Pablo Picasso’s photograph of Vincent van Gogh’s original painting, printed to exactly the same scale.

  4. D

    Pablo Picasso’s miniaturised, but otherwise faithful and accurate painting of Vincent van Gogh’s original painting.

Pick an option, then check.
Answer & solution

Answer: Option B

For the Chinese, a fuzhipin – an exact reproduction – is 'of equal value to the original'. A fangzhipin, where 'the difference from the original is obvious' (such as a small model), is a lesser copy.

Option 2 is a painting 'identical in every respect' – an exact reproduction, so a Chinese museum would value it as highly as the original.

Option 1 bears Picasso's signature, an obvious difference from van Gogh's original.

Option 3 is a photograph, a different medium from a painting.

Option 4 is miniaturised – exactly the kind of small model the passage calls a fangzhipin.

Shortcut: only an exact reproduction with no visible difference counts as equal in value.

Hence, the answer is option 2.

Question 10 · RC - Questions

Which one of the following scenarios is unlikely to follow from the arguments in the passage?
  1. A
    A 17th-century British painter would have no problem adding personal touches when restoring an ancient Roman painting.
  2. B
    A 20th-century Japanese Buddhist monk would value a reconstructed shrine as the original.
  3. C
    A 17th-century French artist who adhered to a Christian worldview would need to be completely true to the original intent of a painting when restoring it.
  4. D
    A 21st-century Christian scientist is likely to oppose cloning because of his philosophical orientation.
Pick an option, then check.
Answer & solution

Answer: Option C

Option 3 is unlikely. In the 17th century, Western restorers did not restore ancient works 'in a way that was faithful to the original'; there was 'massive intervention in these works'. The idea of an unassailable original came later. A 17th-century European artist would not have felt bound to be completely true to the original.

Option 1 follows: the same 17th-century practice of intervention.

Option 2 follows: for Japanese pilgrims, the rebuilt Ise shrine is still 1,300 years old.

Option 4 follows: Christians called for a ban on human cloning.

Shortcut: the 17th-century West intervened freely, so any 17th-century restorer who must stay 'completely true' contradicts the passage.

Hence, the answer is option 3.

Question 11 · Grammatically Correct Sentence

Which one of the following statements does not correctly express the similarity between the Ise Grand Shrine and the cathedral of Freiburg Minster?
  1. A
    Both were built as places of worship.
  2. B
    Both can be regarded as very old structures.
  3. C
    Both are continually undergoing restoration.
  4. D
    Both will one day be completely rebuilt.
Pick an option, then check.
Answer & solution

Answer: Option C

We need the statement that does not correctly describe a similarity.

Option 1 is a real similarity: one is a shrine, the other a cathedral.

Option 2 is a real similarity: Ise is regarded as 1,300 years old; Freiburg Minster still has stones from the Middle Ages.

Option 4 is a real similarity: Ise is rebuilt from scratch every 20 years; at Freiburg, even the medieval stones are 'at some point' replaced, so in time the whole cathedral is rebuilt. The author calls it 'the same operation'.

Option 3 is not a correct similarity. Freiburg is 'continually being examined' and repaired, with scaffolding 'almost all year round'. Ise is not restored continually; it is rebuilt all at once every 20 years. The difference, as the passage says, is that Freiburg's replica is made 'very slowly and over long periods of time'.

Shortcut: the passage itself marks the difference – all at once (Ise) versus little by little (Freiburg).

Hence, the answer is option 3.

Question 12 · RC Inference Questions

The value that the modern West assigns to “an unassailable original” has resulted in all of the following EXCEPT:
  1. A
    it discourages them from simultaneous displays of multiple copies of a painting.
  2. B
    it allows regular employment for certain craftsmen.
  3. C
    it discourages them from making interventions in ancient art.
  4. D
    it discourages them from carrying out human cloning.
Pick an option, then check.
Answer & solution

Answer: Option D

Consider what follows from the West valuing 'an unassailable original'.

Option 1 follows: since copies are seen as lesser, Western museums reject copies sent in place of originals; they would not show several copies of a painting side by side as equals.

Option 2 follows: the dedicated workshop at Freiburg constantly produces copies of damaged figures and replaces stones – regular work for craftsmen trying to preserve the original as long as possible.

Option 3 follows: today, unlike in the 17th century, restorers avoid 'massive intervention' in ancient art.

Option 4 does not follow from this value. The passage links opposition to cloning with religion – 'Christians called for a ban on human cloning' – while Hwang's support comes from Buddhism. The value placed on an unassailable original in art is not given as the reason.

Shortcut: watch what each effect is tied to. Cloning is tied to religious belief, not to the art-world idea of the original.

Hence, the answer is option 4.

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