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  3. "Paleolithic Art" From the moment in 1879 that cave paintings were discovered at Altamira, scholars have wondered why the hun

"Paleolithic Art" From the moment in 1879 that cave paintings were discovered at Altamira, scholars have wondered why the hun

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问题 "Paleolithic Art"
   From the moment in 1879 that cave paintings were discovered at Altamira, scholars have wondered why the hunter-artists of the Old Stone Age decided to cover the walls of dark caverns with animal images. Various answers have been given, including that they were mere decoration, but this theory cannot explain the narrow range of subjects or the inaccessibility of many of the paintings. In fact, the remoteness and difficulty of access of many of the cave paintings and the fact they appear to have been used for centuries are precisely what have led many scholars to suggest that the prehistoric hunters attributed magical properties to the images they painted. According to this argument, by confining animals to the surfaces of their cave walls, the artists believed they were bringing the beasts under their control. Some have even hypothesized that rituals or dances were performed in front of the images and that these rites served to improve the hunters’ luck. Still others have stated that the painted animals may have served as teaching tools to instruct new hunters about the character of the various species they would encounter or even to serve as targets for spears.
   In contrast, some scholars have argued that the magical purpose of the paintings and reliefs was not to ft te the destruction of bison and other species. Instead, they believe prehistoric painters created animal images to assure the survival of the herds Paleolithic peoples depended on for their food supply and for their clothing. A     A central problem for both the hunting-magic and food-creation theories is that the animals that seem to have been diet staples of Old Stone Age peoples are not those most frequently portrayed. B
   Other scholars have sought to reconstruct an elaborate mythology based on the cave paintings, suggesting that Paleolithic humans believed they had animal ancestors. Still others have equated certain species with men and others with women and also found sexual symbolism in the abstract signs that sometimes accompany the images. C    Almost all of these theories have been discredited over time, and art historians must admit that no one knows the intent of these paintings. D   In fact, a single explanation for all Paleolithic murals, even paintings similar in subject, style, and composition (how the motifs are arranged on the surface), is unlikely to apply universally. The works remain an enigma—and always will—because before the invention of writing, no contemporaneous explanations could be recorded.
   That the paintings did have meaning to the Paleolithic peoples who made and observed them cannot, however, be doubted. In fact, signs consisting of checks, dots, squares, or other arrangements of lines often accompany the pictures of animals.
   Representations of human hands are also common. At Pech-Merle in France, painted hands accompany representations of spotted horses. These and the majority of painted hands at other sites are "negative," that is, the painter placed one hand against the wall and then brushed or blew or spat pigment around it. Occasionally, the painter dipped a hand in the pigment and then pressed it against the wall, leaving a "positive" imprint. These handprints, too, must have had a purpose. Some researchers have considered them "signatures" of cult or community members or, less likely, of individual artists. But like everything else in Paleolithic art, their meaning is unknown.
   The mural (wall) paintings at Pech-Merle also allow some insight into the reason certain subjects may have been chosen for a specific location. One of the horses may have been inspired by the rock formation in the wall surface resembling a horse’s head and neck. Old Stone Age painters and sculptors frequently and skillfully used the caves’ naturally irregular surfaces to help give the illusion of real presence to their forms. Altamira bison, for example, were painted over bulging rock surfaces. In fact, prehistorians have observed that bison and cattle appear almost exclusively on convex surfaces, whereas nearly all horses and hands are painted on concave surfaces. What this signifies has yet to be determined.
Look at the four squares [■] that show where the following sentence could be inserted in the passage.
   At Altamira, for example, faunal remains show that red deer, not bison, were eaten.
   Where could the sentence best be added?
   Click on a square [■] to insert the sentence in the passage.
选项 A、 
B、 
C、 
D、 
答案B
解析 Example is a transitional device that connects the insert sentence with the general statement in the previous sentence. The connection is between the general statement "animals that seem to have been diet staples ... are not.. . portrayed" and the example that "red deer, not bison were eaten."
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