Question

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.'