Reading Comprehension

Archaeologists working in two recently discovered limestone caves in Sarawak, Malaysia have found a surprising collection of 51 paintings estimated to be 6,000 to 12,000 years old. The paintings are unusual in their medium, manner of display, and subject matter. These are not simply wall or ceiling paintings. Stones-some as small as notebooks, some as large as doors-have been chipped and otherwise shaped to form rough canvases on which are painted individual works. Some of the pieces are stacked, while others are arranged upright in an overlapping pattern so that one can "flip through" the smaller pieces in the collection with relative ease. Hunters, warriors, and hunted animals, the typical subjects of cave art, are largely absent from these works. Instead, domestic scenes are represented, including food preparations, family meals, and recreational activities.

Though no tools have been found in the area, the fineness of the lines suggests the use of sophisticated animal-hair brushes. Gypsum, manganese, malachite, and other minerals were painstakingly ground and mixed with binding materials such as vegetable and animal oils to form the paints. In some cases, the artist or artists (Dr. Linus Mendoza of the International Speleologist Association has studied the paintings and believes that stylistic similarities and differences point to the work of three artists) have removed the patina surrounding the intended figures, producing a negative image. One probable reason for the high level of artistry is that the paintings may have been produced in the open air, where the light was good, and then brought into the cave.

However, it is the purpose of the paintings that is the most curious. Conventional wisdom holds that the hunting scenes found in cave art were meant to provide supernatural aid during actual hunts, or that figures and designs were painted by prehistoric shamans as a way of drawing power from the cave itself. It may also be that the scenes of domestic life are, like representations of hunting, meant to ensure good luck. Though facial features are rarely distinct, the paintings do suggest contentedness, or at least an absence of conflict. Most tantalizingly, it may be that the collection represents a sort of family tree. A number of the paintings appear to feature some of the same people, and it is tempting to think of these works as family portraits. Indeed, one figure, seen as a child with a mark on its forehead-the stone has actually been chipped away to represent the mark-is shown in other paintings as a young person and as an adult with the same mark.

1. Which of the following is mentioned in the passage as an unusual feature of the stone paintings?

A. The high level of artistry
B. The age of the paintings
C. The range in the size of the figures in the painting
D. The lack of distinct facial features
E. The overlapping presentation of the pieces
OA is E
I chose C since he said some paintings are small and some are big as room

3. The primary purpose of the passage is to _______.

A. present an overview of stone paintings and show how they differ from most cave paintings
B. offer evidence that the stone paintings found in Sarawak most likely represent a family tree
C. detail some of the reasons that the discovery of the stone paintings is of considerable interest
D. persuade the reader of the great skill that went into the creation of the stone paintings
E. discuss the reasons that prehistoric people created cave art and stone art
OA is C

Archaeologists working in two recently discovered limestone caves in Sarawak, Malaysia have found a surprising collection of 51 paintings estimated to be 6,000 to 12,000 years old. The paintings are unusual in their medium, manner of display, and subject matter. These are not simply wall or ceiling paintings. Stones-some as small as notebooks, some as large as doors-have been chipped and otherwise shaped to form rough canvases on which are painted individual works. Some of the pieces are stacked, while others are arranged upright in an overlapping pattern so that one can "flip through" the smaller pieces in the collection with relative ease. Hunters, warriors, and hunted animals, the typical subjects of cave art, are largely absent from these works. Instead, domestic scenes are represented, including food preparations, family meals, and recreational activities.

Though no tools have been found in the area, the fineness of the lines suggests the use of sophisticated animal-hair brushes. Gypsum, manganese, malachite, and other minerals were painstakingly ground and mixed with binding materials such as vegetable and animal oils to form the paints. In some cases, the artist or artists (Dr. Linus Mendoza of the International Speleologist Association has studied the paintings and believes that stylistic similarities and differences point to the work of three artists) have removed the patina surrounding the intended figures, producing a negative image. One probable reason for the high level of artistry is that the paintings may have been produced in the open air, where the light was good, and then brought into the cave.

However, it is the purpose of the paintings that is the most curious. Conventional wisdom holds that the hunting scenes found in cave art were meant to provide supernatural aid during actual hunts, or that figures and designs were painted by prehistoric shamans as a way of drawing power from the cave itself. It may also be that the scenes of domestic life are, like representations of hunting, meant to ensure good luck. Though facial features are rarely distinct, the paintings do suggest contentedness, or at least an absence of conflict. Most tantalizingly, it may be that the collection represents a sort of family tree. A number of the paintings appear to feature some of the same people, and it is tempting to think of these works as family portraits. Indeed, one figure, seen as a child with a mark on its forehead-the stone has actually been chipped away to represent the mark-is shown in other paintings as a young person and as an adult with the same mark.

1. Which of the following is mentioned in the passage as an unusual feature of the stone paintings?

A. The high level of artistry
B. The age of the paintings
C. The range in the size of the figures in the painting
D. The lack of distinct facial features
E. The overlapping presentation of the pieces
OA is E
I chose C since he said some paintings are small and some are big as room

The problem with C is that it refers to the size of the figures in the paintings, whereas the text refers to the range in size of the stones that function as the canvases on which the paintings are done.

The important line here is: The paintings are unusual in their medium, manner of display, and subject matter. So the answer could be any of these three things. The author then elaborates on each of these three elements in the next few sentences.

The medium: the paintings are on stones

The manner of display: Some of the pieces are stacked, while others are arranged upright in an overlapping pattern

The subject matter: domestic scenes

The only one of these three elements to appear in the answer choices is the manner of display - the overlapping pattern, mentioned in E

3. The primary purpose of the passage is to _______.

A. present an overview of stone paintings and show how they differ from most cave paintings
B. offer evidence that the stone paintings found in Sarawak most likely represent a family tree
C. detail some of the reasons that the discovery of the stone paintings is of considerable interest
D. persuade the reader of the great skill that went into the creation of the stone paintings
E. discuss the reasons that prehistoric people created cave art and stone art

A: Too broad. The passage doesn't give an overview of stone paintings in general, but rather, details the features of the particular discovery in Sarawak.

B: Too narrow: Mentioned in the last paragraph, but not the general thrust of the passage

C: Looks good: We're told right away that this discovery contained some surprising features, and those features are subsequently discussed in detail.
Often the main idea of the passage can be found in the first sentence or two of the first paragraph.

D: Too narrow: mentioned in paragraph 2, but not the passage's main idea

E: Discussed in paragraph 3, but not the passage's main idea.

Can any expert tell me how the second paragraph is structurally related to first Paragraph?

I am confused whether the 2nd one is in continuation of first Paragraph that elaboration why these paintings are unusual.If Not,let me know how is the organization of this paragraph (2nd one).


Reason why I asked : I marked Option A . in first Question.
"Which of the following is mentioned in the passage as an unusual feature of the stone paintings?"