很多考生会抱怨托福阅读时间不够，还没完全理解文章就做题，正确率不高。其实这是我们对托福阅读素材不熟悉造成的，下面小编整理了一下托福阅读考试最新的素材，希望能帮助大家更加快速高效的备考托福。

　　托福阅读素材：洞穴与岩石艺术

　　内容回忆：

　　第一段：新石器时代末期的 M 的洞穴和壁画艺术十分具备代表性， M 取名于聚居地 M ，该艺术的特征是具备系统性;

　　第二段：虽然我们对 M 的了解很少，但是鉴于 19 世纪 60 年代发现， 20 世纪初经过学者确认，我们还是具备一定的相关知识;

　　第三段：因为开放 cave art 带来的环境变化会对画有影响，造成其破坏，所以现在有很多的 cave art 不对公众开放，而且照片无法传递画更为具体的质地，这些都给学者研究洞穴艺术造成了比较大的困难;

　　第四段： M 画的主体常为人的手， 动物等，很少画人物。并且用的工具十分多样来表现不同的质地。例如不同的石头。洞穴的水中含钙元素也可以起到帮助混合颜料的作用。据发现，洞穴的壁画里所混合的一种涂料里有 158 种。

　　参考阅读：Cave Art in Europe

　　The earliest discovered traces of art are beads and carvings, and then paintings, from sites dating back to the Upper Paleolithic period. We might expect that early artistic efforts would be crude, but the cave paintings of Spain and southern France show a marked degree of skill. So do the naturalistic paintings on slabs of stone excavated in southern Africa. Some of those slabs appear to have been painted as much as 28,000 years ago, which suggests that painting in Africa is as old as painting in Europe. But painting may be even older than that. The early Australians may have painted on the walls of rock shelters and cliff faces at least 30,000 years ago, and maybe as much as 60,000 years ago.

　　The researchers Peter Ucko and Andree Rosenfeld identified three principal locations of paintings in the caves of western Europe: (1) in obviously inhabited rock shelters and cave entrances; (2) in galleries immediately off the inhabited areas of caves; and (3) in the inner reaches of caves, whose difficulty of access has been interpreted by some as a sign that magical-religious activities were performed there.

　　The subjects of the paintings are mostly animals. The paintings rest on bare walls, with no backdrops or environmental trappings. Perhaps, like many contemporary peoples, Upper Paleolithic men and women believed that the drawing of a human image could cause death or injury, and if that were indeed their belief, it might explain why human figures are rarely depicted in cave art. Another explanation for the focus on animals might be that these people sought to improve their luck at hunting. This theory is suggested by evidence of chips in the painted figures, perhaps made by spears thrown at the drawings. But if improving their hunting luck was the chief motivation for the paintings, it is difficult to explain why only a few show signs of having been speared. Perhaps the paintings were inspired by the need to increase the supply of animals. Cave art seems to have reached a peak toward the end of the Upper Paleolithic period, when the herds of game were decreasing.

　　The particular symbolic significance of the cave paintings in southwestern France is more explicitly revealed, perhaps, by the results of a study conducted by researchers Patricia Rice and Ann Paterson. The data they present suggest that the animals portrayed in the cave paintings were mostly the ones that the painters preferred for meat and for materials such as hides. For example, wild cattle (bovines) and horses are portrayed more often than we would expect by chance, probably because they were larger and heavier (meatier) than other animals in the environment. In addition, the paintings mostly portray animals that the painters may have feared the most because of their size, speed, natural weapons such as tusks and horns, and the unpredictability of their behavior. That is, mammoths, bovines, and horses are portrayed more often than deer and reindeer. Thus, the paintings are consistent with the idea that the art is related to the importance of hunting in the economy of Upper Paleolithic people. Consistent with this idea, according to the investigators, is the fact that the art of the cultural period that followed the Upper Paleolithic also seems to reflect how people got their food. But in that period, when getting food no longer depended on hunting large game animals (because they were becoming extinct), the art ceased to focus on portrayals of animals.

　　Upper Paleolithic art was not confined to cave paintings. Many shafts of spears and similar objects were decorated with figures of animals. The anthropologist Alexander Marshack has an interesting interpretation of some of the engravings made during the Upper Paleolithic. He believes that as far back as 30,000 B.C., hunters may have used a system of notation, engraved on bone and stone, to mark phases of the Moon. If this is true, it would mean that Upper Paleolithic people were capable of complex thought and were consciously aware of their environment. In addition to other artworks, figurines representing the human female in exaggerated form have also been found at Upper Paleolithic sites. It has been suggested that these figurines were an ideal type or an expression of a desire for fertility.

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