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任何寻求艺术起源的调查研究中，人们都会把精力集中在旧石器时代（大约40,000-10,000年前）欧洲地区产出的洞穴壁画上。比如法国拉斯科岩洞中描绘了公牛和其他动物的那些壁画。

In any investigation of the origins of art, attention focuses on the cave paintings created in Europe during the Paleolithic era (C.40,000-10,000 years ago) such as those depicting bulls and other animals in the Lascaux cave in France.

接受了他们是全球最具创意性的爆发的保存最为完好也最为明显的标志的同时，我们该如何开始去解释它们的出现呢？

Accepting that they are the best preserved and most visible signs of what was a global creative explosion, how do we start to explain their appearance?

我们可能本能地希望通过假设绘画是纯粹地出于乐趣，来进一步了解最早的人类艺术家。

Instinctively, we may want to update the earliest human artists by assuming that they painted for the sheer joy of painting.

古典希腊的哲学家们将“模仿作品带来的喜悦”视为是人类的一种决定性特征，即人类喜欢那种模仿的行为和模仿成功所带来的喜悦。

The philosophers of Classical Greece recognized it as a defining trait of humans to “delight in works of imitation”—to enjoy the very act and triumph of representation.

如果我们靠近一只真正的狮子或者一条蛇，我们可能会被吓到。

If we were close to a real lion or snake, we might feel frightened.

但是一张惟妙惟肖的狮子或蛇的会给我们带来乐趣。

But a well-executed picture of a lion or snake will give us pleasure.

那么我们为什么要觉得旧石器时代的祖先（跟我们）有何不同呢？

Why suppose that our Paleolithic ancestors were any different?

为艺术的缘故而直接接受艺术具有一定的吸引力。

This simple acceptance of art for art’s sake has a certain appeal.

如果我们将拉斯科洞穴视为画廊，可以使它成为一种特殊的观赏场所，在此可以展示资深艺术家的手工艺品。

To think of Lascaux as a gallery allows it to be a sort of special viewing place where the handiwork of accomplished artists might be displayed.

有可能，在旧石器时代的欧洲，每天的生活可能并不那么艰难，因为有很多现成的食物，因此人们有闲暇时间来玩艺术。

Plausibly, daily existence in parts of Paleolithic Europe may not have been so hard, with an abundance of ready food and therefore the leisure time for art.

但是，这种解释存在很多问题。

The problems with this explanation, however, are various.

首先，大量的考古发现一直在强调研究对象的范围非常有限（包括世界上数不清的无数年代不清岩石艺术遗址）。

In the first place, the proliferation of archaeological discoveries—and this includes some of the world’s innumerable rock art sites that cannot be dated—has served to emphasize a remarkably limited repertoire of subjects.

The images that recur are those of animals.

人物形象是不寻常的，当人类形象出现的时候，也很少会有如对待动物那般精力万分投入的创作。

Human figures are unusual, and when they do make an appearance, they are rarely done with the same attention to form accorded to the animals.

如果旧石器时代的艺术家只是在寻求代表周围世界的美景，他们会不会留下更多种类的画作，比如来自树木，花朵，太阳和星星的主题？

If Paleolithic artists were simply seeking to represent the beauty of the world around them, would they not have left a far greater range of pictures—of trees, flowers, of the Sun and the stars?

为了艺术而进行艺术创作的理论的另一个问题是，旧石器时代那种似乎并不能模仿任何现实的图像的高出现频率.

A further question to the theory of art for art’s sake is posed by the high incidence of Paleolithic images that appear not to be imitative of any reality whatsoever.

这些是由点或线组成的几何形状或图案。

These are geometrical shapes or patterns consisting of dots or lines.

我们可以发现这些标记孤立或重复出现在特定表面上，但也散布在更易于识别的形式上。

Such marks may be found isolated or repeated over a particular surface, but also scattered across more recognizable forms.

这其中一个很有代表性的例子，是在法国洛特（Lot）地区地质奇观的比奇梅尔（PêcheMerle）石窟中。

A good example of this may be seen in the geologically spectacular grotto of Pêche Merle, in the Lot region of France.

在这里，我们遇到了旧石器库中最受欢迎的动物-一对粗壮的马。

Here we encounter some favorite animals from the Paleolithic repertoire—a pair of stout-bellied horses.

但是，在马的轮廓上和周围都有多个黑点，无视动物原本自然主义的表现。

But over and around the horses’ outlines are multiple dark spots, daubed in disregard for the otherwise naturalistic representation of animals.

可以想象拉斯科（Lascaux）的洞穴可以被视为地下画廊，但是在凹处发现了许多其他绘画，这些绘画完全不适合任何形式的观赏-狭窄的角落和缝隙即使对于艺术家来说也很难置身其中进行创作，更别说其他想要看艺术的人。

The caves of Lascaux might conceivably qualify as underground galleries, but many other paintings have been found in recesses totally unsuitable for any kind of viewing—tight nooks and crannies that must have been awkward even for the artists to penetrate, let alone for anyone else wanting to see the art.

最后，我们可能会怀疑上旧石器时代是否真的是一个天堂，那里的食物很容易到来，并给人类留下了充裕的时间来娱乐艺术。

Finally, we may doubt the notion that the Upper Paleolithic period was a paradise in which food came readily, leaving humans ample time to amuse themselves with art.

对欧洲来说，那个时候仍然是冰河世纪。

据估计，那时候人类生存所必需的基本能量需求是每天2200卡路里。

An estimate of the basic level of sustenance then necessary for human survival has been judged at 2200 calories per day.

这种考虑，再加上对洞穴艺术中动物的刻板印象，已经使一些考古学家相信，旧石器时代图像背后的主要动机一定在于旧石器时代人们的主要活动：狩猎。

This consideration, combined with the stark emphasis upon animals in the cave art, has persuaded some archaeologists that the primary motive behind Paleolithic images must lie with the primary activity of Paleolithic people: hunting.

追踪，跟踪，追逐和杀死猎物是困难的，有时是危险的活动。

Tracking, stalking, chasing, and killing the prey are difficult, sometimes dangerous activities.

如果艺术是用来让捕猎过程更容易的呢？在20世纪初期，布劳伊（AbbéHenri Breuil）认为，这些洞穴壁画都是关于“招人喜欢的魔术”的。

What if the process could be made easier—by art? In the early decades of the twentieth century, Abbé Henri Breuil argued that the cave paintings were all about “sympathetic magic.”

艺术家们努力地使他们的动物形象令人回味和逼真，因为他们试图捕捉猎物的精神。

The artists strived diligently to make their animal images evocative and realistic because they were attempting to capture the spirit of their prey.

是什么促使他们热衷于制作这种自然的，可识别的图像的呢？

What could have prompted their studious attention to making such naturalistic, recognizable images?

根据布劳伊的说法，艺术家们可能相信，如果猎人能够真正画出逼真的动物，那么该动物就实际意义上被困住了。

According to Breuil, the artists may have believed that if a hunter were able to make a true likeness of some animal, then that animal was virtually trapped.

因此，图像可能具有在狩猎中赋予成功或运气的神奇能力。

Images, therefore, may have had the magical capacity to confer success or luck in the hunt.

According to paragraph 1, what is significant about the paintings in the Lascaux caves?

In paragraph 1, why does the author mention the views of the philosophers of Classical Greece?

Paragraph 2 suggests that the Lascaux cave paintings could have been created as art for art’s sake only if which of the following were true?

Which of the sentences below best expresses the essential information in the highlighted sentence in the passage? Incorrect choices change the meaning in important ways or leave out essential information.

In paragraph 3, why does the author include a description of a painting of horses from the grotto of Pêche Merle?

According to paragraph 3, which of the following is true of the paintings located in the Lascaux caves?

According to paragraph 5, Breuil proposed which of the following theories about the purpose of cave paintings?

The word “prompted” in the passage is closest in meaning to

Look at the four squares  that indicate where the following sentence could be added to the passage. Obtaining this level of nourishment from such a harsh environment must have consumed most of Paleolithic people’s time and attention.  Where would the sentence best fit? Click on a square  to add the sentence to the passage.

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.

Paleolithic Cave Painting In any investigation of the origins of art, attention focuses on the cave paintings created in Europe during the Paleolithic era (C.40,000-10,000 years ago) such as those depicting bulls and other animals in the Lascaux cave in France. Accepting that they are the best preserved and most visible signs of what was a global creative explosion, how do we start to explain their appearance? Instinctively, we may want to update the earliest human artists by assuming that they painted for the sheer joy of painting. The philosophers of Classical Greece recognized it as a defining trait of humans to “delight in works of imitation”—to enjoy the very act and triumph of representation. If we were close to a real lion or snake, we might feel frightened. But a well-executed picture of a lion or snake will give us pleasure. Why suppose that our Paleolithic ancestors were any different? This simple acceptance of art for art’s sake has a certain appeal. To think of Lascaux as a gallery allows it to be a sort of special viewing place where the handiwork of accomplished artists might be displayed. Plausibly, daily existence in parts of Paleolithic Europe may not have been so hard, with an abundance of ready food and therefore the leisure time for art. The problems with this explanation, however, are various. In the first place, the proliferation of archaeological discoveries—and this includes some of the world’s innumerable rock art sites that cannot be dated—has served to emphasize a remarkably limited repertoire of subjects. The images that recur are those of animals. Human figures are unusual, and when they do make an appearance, they are rarely done with the same attention to form accorded to the animals. If Paleolithic artists were simply seeking to represent the beauty of the world around them, would they not have left a far greater range of pictures—of trees, flowers, of the Sun and the stars? A further question to the theory of art for art’s sake is posed by the high incidence of Paleolithic images that appear not to be imitative of any reality whatsoever. These are geometrical shapes or patterns consisting of dots or lines. Such marks may be found isolated or repeated over a particular surface, but also scattered across more recognizable forms. A good example of this may be seen in the geologically spectacular grotto of Pêche Merle, in the Lot region of France. Here we encounter some favorite animals from the Paleolithic repertoire—a pair of stout-bellied horses. But over and around the horses’ outlines are multiple dark spots, daubed in disregard for the otherwise naturalistic representation of animals. What does such patterning imitate? There is also the factor of location. The caves of Lascaux might conceivably qualify as underground galleries, but many other paintings have been found in recesses totally unsuitable for any kind of viewing—tight nooks and crannies that must have been awkward even for the artists to penetrate, let alone for anyone else wanting to see the art. Finally, we may doubt the notion that the Upper Paleolithic period was a paradise in which food came readily, leaving humans ample time to amuse themselves with art.  For Europe it was still the Ice Age.  An estimate of the basic level of sustenance then necessary for human survival has been judged at 2200 calories per day.  This consideration, combined with the stark emphasis upon animals in the cave art, has persuaded some archaeologists that the primary motive behind Paleolithic images must lie with the primary activity of Paleolithic people: hunting.  Hunting is a skill. Tracking, stalking, chasing, and killing the prey are difficult, sometimes dangerous activities. What if the process could be made easier—by art? In the early decades of the twentieth century, Abbé Henri Breuil argued that the cave paintings were all about “sympathetic magic.” The artists strived diligently to make their animal images evocative and realistic because they were attempting to capture the spirit of their prey. What could have prompted their studious attention to making such naturalistic, recognizable images? According to Breuil, the artists may have believed that if a hunter were able to make a true likeness of some animal, then that animal was virtually trapped. Images, therefore, may have had the magical capacity to confer success or luck in the hunt.