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?
○Because some tools used for painting were also used for hunting
○Because cave inhabitants were known to prefer animal food rather than plant food
○Because some of the animals are shown wounded by weapons
○Because 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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参考答案：
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…
拉斯科岩洞画
在20世纪40年代的法国的西南部，玩耍中的孩子们发现了拉斯科岩洞，一系列狭窄的洞穴室内含有庞大的史前动物题材绘画。其中许多动物有16英尺那么大（几乎5米）。其中一些动物彼此相随庄严地列队前行，但其它动物在四周和一侧混乱的盘旋着。这些动物包括公牛、野马、驯鹿、野牛和猛犸，它们被木炭勾勒出外形，填上红色、黄色和棕色。科学分析表明，颜色来自黄土和其他氧化铁制成的精细粉末。上色的方法多种多样，岩石表面的颜色有的是涂刷上去的，有的是轻吹或喷涂上去的。喷洒的工具很可能用的是动物骨骼制成的管子，因为在画的附近发现了一些沾有颜料的空心骨骼。
这些绘画中令人费解的问题之一是它们所处的位置。其他岩石画——例如那些南非布希曼人的画——要么靠近洞口，要么完全处于开阔的地方。然而，法国和西班牙的洞穴壁画位于洞穴深处或是远离洞穴最初入口的地方。这意味着艺术家们被强迫在狭窄的缺乏自然光线的空间里工作。这同时暗示着无论是谁画的画，都不希望这些画被轻易的发现。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岩洞穴居者隐藏着他们的艺术作品。
针对这些画的神秘起源和它们的重要性，学者们提出了三种相关但不同的看法。一种看法认为，这些绘画是牧人用来记录牧群季节性迁徙的。因为有些画直接画在另一些画上面，把原有画面涂掉了，很有可能是这幅画的价值随着它所描绘迁徙这过程的结束而结束。不幸的是，这一解释未能揭露这些绘画的地点为何如此隐蔽，除非他们是想通过这种秘密的仪式来庆祝牧群迁徙。
另一种观点认为这些画与狩猎有直接关系，它们是一种特别的筹备仪式的重要组成部分。画面及它们所反映各种仪式是一种对猎人进行心理激励的古老方法。试想一下，猎人们狩猎之前，先将猎物画出来或者进行研习，并设想这次狩猎成功。大多数人支持这种观点，因为这些画当中的一些动物被箭和矛击伤。同时，这种观点尝试解释重复绘画的原因：狩猎结束后，之前所绘的猎物图片不再有用。
第三种意见把心理动机上升到部落仪式和神话的层面：他们相信某些动物拥有神秘的重要性，它们是某个特定部落或种族的古老祖先或守护神。两种类型的图像证实这一理论：在动物附近有些奇怪、难以辨别的几何图形和几个男子的图像。无论人类的图像在哪出现，都画得很粗糙，身体都被拉长并且很僵化，有的人是俯卧着的，有的人有鸟或动物的头。这个观点的提倡者们提供了一份经历了恍惚状态的报告，恍惚是一种介于清醒和睡眠之间的低意识的状态。这些人恍惚时都感受到的失重状态和身体被拉长的感觉。而且，那些相信精神存在于自然力量之中的人，特别是巫师，相信动物的精神和能量可以在昏迷状态中获得。一幅拉斯科岩洞画描绘了一个有类似鸟头的人和一个受伤动物的故事，这幅画看起来会增加了这种观点的可信度，但仍有很多疑惑尚未揭开。比如，如何证明画中人就是巫师？那个人可以轻易被看做是一个带着面具的猎人。包括土著美洲人在内的许多部落的猎人都会通过身着动物的头和兽皮来伪装自己。
或许时间太久，对这些岩洞画的解释也可能永远都没有令人满意的答案，但是它们的神秘感会使它们更加重要。当然，一个伟大艺术的存在无不表明了古代人类拥有智慧、技术和感情。
