In Southwest France in the 1940’s, playing children discovered Lascaux Grotto, a series of narrow cave chambers that contain huge prehistoric paintings of animals. Many of these beasts are as large as 16 feet (almost 5 meters). Some follow each other in solemn parades, but others swirl about, sideways and upside down. The animals are bulls, wild horses, reindeer, bison, and mammoths outlined with charcoal and painted mostly in reds, yellow, and browns. Scientific analysis reveals that the colors were derived from ocher and other iron oxides ground into a fine powder. Methods of applying color varied: some colors were brushed or smeared on rock surfaces and others were blown or sprayed. It is possible that tubes made from animal bones were used for spraying because hollow bones, some stained with pigment, have been found nearby.
One of the most puzzling aspects of the paintings is their location. Other rock paintings—for example, those of Bushmen in South Africa—are either located near cave entrances or completely in the open. Cave paintings in France and Spain, however, are in recesses and caverns far removed from original cave entrances. This means that artists were forced to work in cramped spaces and without sources of natural light. It also implies that whoever made them did not want them to be easily found. Since cave dwellers normally lived close to entrances, there must have been some reason why so many generations of Lascaux cave dwellers hid their art.
Scholars offer three related but different opinions about the mysterious origin and significance of these paintings. One opinion is that the paintings were a record of seasonal migrations made by herds. Because some paintings were made directly over others, obliterating them, it is probable that a painting’s value ended with the migration it pictured. Unfortunately, this explanation fails to explain the hidden locations, unless the migrations were celebrated with secret ceremonies.
Another opinion is that the paintings were directly related to hunting and were an essential part of a special preparation ceremony. This opinion holds that the pictures and whatever ceremony they accompanied were an ancient method of psychologically motivating hunters. It is conceivable that before going hunting the hunters would draw or study pictures of animals and imagine a successful hunt. Considerable support exists for this opinion because several animals in the pictures are wounded by arrows and spears. This opinion also attempts to solve the overpainting by explaining that an animal’s picture had no further use after the hunt.
A third opinion takes psychological motivation much further into the realm of tribal ceremonies and mystery: the belief that certain animals assumed mythical significance as ancient ancestors or protectors of a given tribe or clan. Two types of images substantiate this theory: the strange, indecipherable geometric shapes that appear near some animals, and the few drawings of men. Wherever men appear they are crudely drawn and their bodies are elongated and rigid. Some men are in a prone position and some have bird or animal heads. Advocates for this opinion point to reports from people who have experienced a trance state, a highly suggestive state of low consciousness between waking and sleeping. Uniformly, these people experienced weightlessness and the sensation that their bodies were being stretched lengthwise. Advocates also point to people who believe that the forces of nature are inhabited by spirits, particularly shamans* who believe that an animal’s spirit and energy is transferred to them while in a trance. One Lascaux narrative picture, which shows a man with a birdlike head and a wounded animal, would seem to lend credence to this third opinion, but there is still much that remains unexplained. For example, where is the proof that the man in the picture is a shaman? He could as easily be a hunter wearing a headmask. Many tribal hunters, including some Native Americans, camouflaged themselves by wearing animal heads and hides.
Perhaps so much time has passed that there will never be satisfactory answers to the cave images, but their mystique only adds to their importance. Certainly a great art exists, and by its existence reveals that ancient human beings were not without intelligence, skill, and sensitivity.
Shamans: holy people who act as healers and diviners
Paragraph 1: In Southwest France in the 1940’s, playing children discovered Lascaux Grotto, a series of narrow cave chambers that contain huge prehistoric paintings of animals. Many of these beasts are as large as 16 feet (almost 5 meters). Some follow each other in solemn parades, but others swirl about, sideways and upside down. The animals are bulls, wild horses, reindeer, bison, and mammoths outlined with charcoal and painted mostly in reds, yellow, and browns. Scientific analysis reveals that the colors were derived from ocher and other iron oxides ground into a fine powder. Methods of applying color varied: some colors were brushed or smeared on rock surfaces and others were blown or sprayed. It is possible that tubes made from animal bones were used for spraying because hollow bones, some stained with pigment, have been found nearby.
1. The word “others” in the passage refers to
○chambers
○paintings
○beasts
○parades
2. The word “Methods” in the passage is closest in meaning to
○Ways
○Shades
○Stages
○Rules
3. What are the bones found in the Lascaux caves believed to indicate?
○Wild animals sometimes lived in the cave chambers.
○Artists painted pictures on both walls and bones.
○Artists ground them into a fine powder to make paint.
○Artists developed special techniques for painting the walls.
Paragraph 2: One of the most puzzling aspects of the paintings is their location. Other rock paintings—for example, those of Bushmen in South Africa—are either located near cave entrances or completely in the open. Cave paintings in France and Spain, however, are in recesses and caverns far removed from original cave entrances. This means that artists were forced to work in cramped spaces and without sources of natural light. It also implies that whoever made them did not want them to be easily found. Since cave dwellers normally lived close to entrances, there must have been some reason why so many generations of Lascaux cave dwellers hid their art.
4. Why does the author mention Bushmen in South Africa in paragraph 2?
○To suggest that ancient artists from all over the world painted animals on rocks
○To contrast the location of their rock paintings to those found at Lascaux
○To support the claim that early artists worked in cramped spaces
○To give an example of other artists who painted in hidden locations
5. What can be inferred from paragraph 2 about cave painters in France and Spain?
○They also painted rocks outside caves.
○They did not live close to the cave entrances.
○They developed their own sources of light to use while painting.
○Their painting practices did not last for many years.
Paragraph 3: Scholars offer three related but different opinions about the mysterious origin and significance of these paintings. One opinion is that the paintings were a record of seasonal migrations made by herds. Because some paintings were made directly over others, obliterating them, it is probable that a painting’s value ended with the migration it pictured. Unfortunately, this explanation fails to explain the hidden locations, unless the migrations were celebrated with secret ceremonies.
6. Why does the author mention secret ceremonies?
○To present a common opinion held by many scholars
○To suggest a similarity between two opinions held by scholars
○To suggest a possible explanation for a weakness in an opinion expressed in the passage
○To give evidence that contradicts a major opinion expressed in the passage
Paragraph 4: Another opinion is that the paintings were directly related to hunting and were an essential part of a special preparation ceremony. This opinion holds that the pictures and whatever ceremony they accompanied were an ancient method of psychologically motivating hunters. It is conceivable that before going hunting the hunters would draw or study pictures of animals and imagine a successful hunt. Considerable support exists for this opinion because several animals in the pictures are wounded by arrows and spears. This opinion also attempts to solve the overpainting by explaining that an animal’s picture had no further use after the hunt.
7. The word “accompanied” in the passage is closest in meaning to
○represented
○developed into
○were associated with
○came after
8. According to paragraph 4, why do some scholars believe that the paintings were related to hunting?
○B(yǎng)ecause some tools used for painting were also used for hunting
○B(yǎng)ecause cave inhabitants were known to prefer animal food rather than plant food
○B(yǎng)ecause some of the animals are shown wounded by weapons
○B(yǎng)ecause many hunters were also typically painters
Paragraph 5: A third opinion takes psychological motivation much further into the realm of tribal ceremonies and mystery: the belief that certain animals assumed mythical significance as ancient ancestors or protectors of a given tribe or clan. Two types of images substantiate this theory: the strange, indecipherable geometric shapes that appear near some animals, and the few drawings of men. Wherever men appear they are crudely drawn and their bodies are elongated and rigid. Some men are in a prone position and some have bird or animal heads. Advocates for this opinion point to reports from people who have experienced a trance state, a highly suggestive state of low consciousness between waking and sleeping. Uniformly, these people experienced weightlessness and the sensation that their bodies were being stretched lengthwise. Advocates also point to people who believe that the forces of nature are inhabited by spirits, particularly shamans* who believe that an animal’s spirit and energy is transferred to them while in a trance. One Lascaux narrative picture, which shows a man with a birdlike head and a wounded animal, would seem to lend credence to this third opinion, but there is still much that remains unexplained. For example, where is the proof that the man in the picture is a shaman? He could as easily be a hunter wearing a headmask. Many tribal hunters, including some Native Americans, camouflaged themselves by wearing animal heads and hides.
9. According to paragraph 5, why do some scholars refer to a trance state to help understand the cave paintings?
○To explain the state of consciousness the artists were in when they painted their pictures
○To demonstrate the mythical significance of the strange geometric shapes
○To indicate that trance states were often associated with activities that took place inside caves
○To give a possible reason for the strange appearance of the men painted on the cave walls
10. According to paragraph 5, if the man pictured with the birdlike head is not a shaman, he may have worn the headmask
○to look like an animal while a hunt took place
○to frighten off other hunters competing for food
○to prove that he is not a shaman
○to resist forces of nature thought to be present in animals
Paragraph 6: Perhaps so much time has passed that there will never be satisfactory answers to the cave images, but their mystique only adds to their importance. Certainly a great art exists, and by its existence reveals that ancient human beings were not without intelligence, skill, and sensitivity.
11. According to paragraph 6, why might the puzzling questions about the paintings never be answered?
○Keeping the paintings a mystery will increase their importance.
○The artists hid their tools with great intelligence and skill.
○Too many years have gone by since the images were painted.
○Answering the question is not very important to scholars.
Paragraph 2: One of the most puzzling aspects of the paintings is their location. Other rock paintings—for example, those of Bushmen in South Africa—are either located near cave entrances or completely in the open. █Cave paintings in France and Spain, however, are in recesses and caverns far removed from original cave entrances. █This means that artists were forced to work in cramped spaces and without sources of natural light. █It also implies that whoever made them did not want them to be easily found. █Since cave dwellers normally lived close to entrances, there must have been some reason why so many generations of Lascaux cave dwellers hid their art.
12. Look at the four squares [■] that indicate where the following sentence could be added to the passage.
This made it easy for the artists to paint and display them for the rest of the cave dwellers.
Where would the sentence best fit?
13. Directions: An introductory sentence for a brief summary of the passage is provided below. Complete the summary by selecting the THREE answer choices that express the most important ideas in the passage. Some sentences do not belong in the summary because they express ideas that are not presented in the passage or are minor ideas in the passage. This question is worth 2 points.
Scholars have wondered about the meaning of the subjects, location, and overpainting of Lascaux cave images.
●
●
Answer Choices
○The paintings may have recorded information about animal migrations, and may only have been useful for one migration at a time.
○The human figures represented in the paintings appear to be less carefully shaped than those of animals.
○It is possible that the animals in the paintings were of mythical significance to the tribe, and the paintings reflected an important spiritual practice.
○Unlike painters of the recently discovered paintings, other Lascaux cave painters usually painted on rocks near cave entrances or in open spaces outside the caves.
○Some scholars believe that the paintings motivated hunters by allowing them to picture a successful hunt.
○Scientific analysis suggests that paintings were sprayed onto the rock walls with tubes made from animal bones.
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參考答案：
1. ○ 3
2. ○ 1
3. ○ 4
4. ○2
5. ○3
6. ○ 3
7. ○ 3
8. ○ 3
9. ○4
10. ○1
11. ○ 3
12. ○1
13. The paintings may have…
It is possible that the animals…
Some scholars believe that…
拉斯科巖洞畫
在20世紀(jì)40年代的法國的西南部，玩耍中的孩子們發(fā)現(xiàn)了拉斯科巖洞，一系列狹窄的洞穴室內(nèi)含有龐大的史前動物題材繪畫。其中許多動物有16英尺那么大（幾乎5米）。其中一些動物彼此相隨莊嚴(yán)地列隊(duì)前行，但其它動物在四周和一側(cè)混亂的盤旋著。這些動物包括公牛、野馬、馴鹿、野牛和猛犸，它們被木炭勾勒出外形，填上紅色、黃色和棕色�？茖W(xué)分析表明，顏色來自黃土和其他氧化鐵制成的精細(xì)粉末。上色的方法多種多樣，巖石表面的顏色有的是涂刷上去的，有的是輕吹或噴涂上去的。噴灑的工具很可能用的是動物骨骼制成的管子，因?yàn)樵诋嫷母浇l(fā)現(xiàn)了一些沾有顏料的空心骨骼。
這些繪畫中令人費(fèi)解的問題之一是它們所處的位置。其他巖石畫——例如那些南非布希曼人的畫——要么靠近洞口，要么完全處于開闊的地方。然而，法國和西班牙的洞穴壁畫位于洞穴深處或是遠(yuǎn)離洞穴最初入口的地方。這意味著藝術(shù)家們被強(qiáng)迫在狹窄的缺乏自然光線的空間里工作。這同時暗示著無論是誰畫的畫，都不希望這些畫被輕易的發(fā)現(xiàn)。由于穴居者通常住在靠近洞口的地方，一定存在某些原因使得世代的拉斯科巖洞穴居者隱藏著他們的藝術(shù)作品。
針對這些畫的神秘起源和它們的重要性，學(xué)者們提出了三種相關(guān)但不同的看法。一種看法認(rèn)為，這些繪畫是牧人用來記錄牧群季節(jié)性遷徙的。因?yàn)橛行┊嬛苯赢嬙诹硪恍┊嬌厦�，把原有畫面涂掉了，很有可能是這幅畫的價值隨著它所描繪遷徙這過程的結(jié)束而結(jié)束。不幸的是，這一解釋未能揭露這些繪畫的地點(diǎn)為何如此隱蔽，除非他們是想通過這種秘密的儀式來慶祝牧群遷徙。
另一種觀點(diǎn)認(rèn)為這些畫與狩獵有直接關(guān)系，它們是一種特別的籌備儀式的重要組成部分。畫面及它們所反映各種儀式是一種對獵人進(jìn)行心理激勵的古老方法。試想一下，獵人們狩獵之前，先將獵物畫出來或者進(jìn)行研習(xí)，并設(shè)想這次狩獵成功。大多數(shù)人支持這種觀點(diǎn)，因?yàn)檫@些畫當(dāng)中的一些動物被箭和矛擊傷。同時，這種觀點(diǎn)嘗試解釋重復(fù)繪畫的原因：狩獵結(jié)束后，之前所繪的獵物圖片不再有用。
第三種意見把心理動機(jī)上升到部落儀式和神話的層面：他們相信某些動物擁有神秘的重要性，它們是某個特定部落或種族的古老祖先或守護(hù)神。兩種類型的圖像證實(shí)這一理論：在動物附近有些奇怪、難以辨別的幾何圖形和幾個男子的圖像。無論人類的圖像在哪出現(xiàn)，都畫得很粗糙，身體都被拉長并且很僵化，有的人是俯臥著的，有的人有鳥或動物的頭。這個觀點(diǎn)的提倡者們提供了一份經(jīng)歷了恍惚狀態(tài)的報告，恍惚是一種介于清醒和睡眠之間的低意識的狀態(tài)。這些人恍惚時都感受到的失重狀態(tài)和身體被拉長的感覺。而且，那些相信精神存在于自然力量之中的人，特別是巫師，相信動物的精神和能量可以在昏迷狀態(tài)中獲得。一幅拉斯科巖洞畫描繪了一個有類似鳥頭的人和一個受傷動物的故事，這幅畫看起來會增加了這種觀點(diǎn)的可信度，但仍有很多疑惑尚未揭開。比如，如何證明畫中人就是巫師？那個人可以輕易被看做是一個帶著面具的獵人。包括土著美洲人在內(nèi)的許多部落的獵人都會通過身著動物的頭和獸皮來偽裝自己。
或許時間太久，對這些巖洞畫的解釋也可能永遠(yuǎn)都沒有令人滿意的答案，但是它們的神秘感會使它們更加重要。當(dāng)然，一個偉大藝術(shù)的存在無不表明了古代人類擁有智慧、技術(shù)和感情。
