Painters of Time Reading Answers

Dec 27, 2022

Painters of Time Reading Answers is a topic about the aboriginal paintings and how it reached the popularity. The given IELTS topic has been originated from the book called “Cambridge IELTS 10 Student's Book with Answers”. The topic named Painters of Time Reading Answers comes with 13 sets of questions. There are three major kinds of questions, like, choose thw suitable heading, no more than three words, and choose the correct answer. The candidates should read thoroughly the IELTS reading passage in order to recognize the synonyms and identify the keywords and for answering the questions below. Similar kinds of topics like Painters of Time Reading Answers are included in the IELTS reading practice papers, which the candidates can take into their consideration for performing a good score in this section.

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Section 1

Read the Passage to Answer the Following Questions

Painters of Time Reading Answers

The works of Aboriginal artists are now much in demand throughout the world, and not just in Australia, where they are already fully recognised: the National Museum of Australia, which opened in Canberra in 2001, designated 40% of its exhibition space to works by Aborigines. In Europe their art is being exhibited at a museum in Lyon. France, while the future Quai Branly museum in Paris

- which will be devoted to arts and civilisations of Africa. Asia, Oceania and the Americas
- plans to commission frescoes by artists from Australia.

Their artistic movement began about 30 years ago. but its roots go back to time immemorial. All the works refer to the founding myth of the Aboriginal culture, ‘the Dreaming’. That internal geography, which is rendered with a brush and colors, is also the expression of the Aborigines' long quest to regain the land which was stolen from them when Europeans arrived in the nineteenth century. ‘Painting is nothing without history.' says one such artist. Michael Nelson Tjakamarra.

There are now fewer than 400.000 Aborigines living in Australia. They have been swamped by the country's 17.5 million immigrants. These original ‘natives' have been living in Australia for 50.000 years, but they were undoubtedly maltreated by the newcomers. Driven back to the most barren lands or crammed into slums on the outskirts of cities, the Aborigines were subjected to a policy of ‘assimilation’, which involved kidnapping children to make them better ‘integrated' into European society, and herding the nomadic Aborigines by force into settled communities.

It was in one such community, Papunya, near Alice Springs, in the central desert, that Aboriginal painting first came into its own. In 1971, a white school teacher. Geoffrey Bardon, suggested to a group of Aborigines that they should decorate the school walls with ritual motifs. so as to pass on to the younger generation the myths that were starting to fade from their collective memory, lies gave them brushes, colors and surfaces to paint on cardboard and canvases. He was astounded by the result. But their art did not come like a bolt from the blue: for thousands of years Aborigines had been ‘painting' on the ground using sands of different colors, and on rock faces. They had also been decorating their bodies for ceremonial purposes. So there existed a formal vocabulary.

This had already been noted by Europeans. In the early twentieth century. Aboriginal communities brought together by missionaries in northern Australia had been encouraged to reproduce on tree bark the motifs found on rock faces. Artists turned out a steady stream of works, supported by the churches, which helped to sell them to the public, and between 1950 and I960 Aboriginal paintings began to reach overseas museums. Painting on bark persisted in the north, whereas the communities in the central desert increasingly used acrylic paint, and elsewhere in Western Australia women explored the possibilities of wax painting and dyeing processes, known as ‘batik’.

What Aborigines depict are always elements of the Dreaming, the collective history that each community is both part of and guardian of. I he Dreaming is the story of their origins, of their ‘Great Ancestors’, who passed on their knowledge, their art and their skills (hunting, medicine, painting, music and dance) to man. ‘The Dreaming is not synonymous with the moment when the world was created.’ says Stephane Jacob, one of the organizers of the Lyon exhibition. ‘For Aborigines, that moment has never ceased to exist. It is perpetuated by the cycle of the seasons and the religious ceremonies which the Aborigines organize. Indeed the aim of those ceremonies is also to ensure the permanence of that golden age. The central function of Aboriginal painting, even in its contemporary manifestations, is to guarantee the survival of this world. The Dreaming is both past, present and future.'

Each work is created individually, with a form peculiar to each artist, but it is created within and on behalf of a community who must approve it. An artist cannot use a 'dream' that does not belong to his or her community, since each community is the owner of its dreams, just as it is anchored to a territory marked out by its ancestors, so each painting can be interpreted as a kind of spiritual road map for that community.

Nowadays, each community is organized as a cooperative and draws on the services of an art adviser, a government-employed agent who provides the artists with materials, deals with galleries and museums and redistributes the proceeds from sales among the artists.

Today, Aboriginal painting has become a great success. Some works sell for more than $25,000, and exceptional items may fetch as much as $180,000 in Australia.

'By exporting their paintings as though they were surfaces of their territory, by accompanying them to the temples of western art. the Aborigines have redrawn the map of their country, into whose depths they were exiled,* says Yves Le Fur. of the Quai Branly museum. ‘Masterpieces have been created. Their undeniable power prompts a dialogue that has proved all too rare in the history of contacts between the two cultures’.

Section 2

Solution and Explanation
Questions 1 - 6:
The IELTS reading passage ‘Painters of Time’ includes 9 paragraphs A - I.
Choose the most suitable heading for paragraphs from the list of headings below.
Write the correct number (i - viii) in boxes 1 - 6 in the answer sheet.

List of Headings:

i) Amazing results from a project
ii) New religious ceremonies
iii) Community art centers
iv) Early painting techniques and marketing systems
v) Mythology and history combined
vi) The increasing acclaim for Aboriginal art
vii) Belief in continuity
viii) Oppression of a minority people

Q1. Paragraph A

Answer: vi- The increasing acclaim for aboriginal art
Supporting Sentence: The works of Aboriginal artists are now much in demand throughout the world, and not just in Australia, where they are already fully recognised: the National Museum of Australia, which opened in Canberra in 2001, designated 40% of its exhibition space to works by Aborigines.
Keywords: Aboriginal, much in demand
Keyword Location: Paragraph A, 1st line
Explanation: Line 1 of paragraph A explains that the paintings of Aboriginal artists attained the peak demands all over the corners of the globe.They were perceived as one of the finest art in the National Musuem of Australia.

Q2. Paragraph B

Answer: v- Mythology and history combined
Supporting Sentence: Their artistic movement began about 30 years ago. but its roots go back to time immemorial. All the works refer to the founding myth of the Aboriginal culture, ‘the Dreaming’.
Keywords: ‘founding myth’, ‘roots go back’
Keyword Location: Paragraph B, 1st line
Explanation: The first line of paragraph B suggests that the artistic movement of aboriginal artists started 30 years prior, although the source of this art has a blending mixture of mythology and history.

Q3. Paragraph C

Answer: viii- Oppression of a minority people
Supporting Sentence: These original ‘natives' have been living in Australia for 50.000 years, but they were undoubtedly maltreated by the newcomers.
Keywords: maltreated, herding nomadic aborigines
Keyword Location: Paragraph C, 3rd line
Explanation: Line 3 of paragraph C implies that Aborigines, those have been dwelling in Australia for about 50,000 years was forecfully oppressed, exploited and ensalved by the new comers, where their children got kidnapped for the purpose of making them unified in the European community.

Q4. Paragraph D

Answer: i- Amazing results from a project
Supporting Sentence: He was astounded by the result.
Keywords: astounded, result
Keyword Location: Paragraph D, 5th line
Explanation: Line 5 of paragraph D explains that Geoffrey Bardon remained awstruck and amazed by the result when he suggested the Aborigined for festooning the school walls with ritualistic concept and painting the cupboard and canvases with the help of bruses and colors.

Q5. Paragraph E

Answer: iv- Early painting techniques and marketing systems
Supporting Sentence: Artists turned out a steady stream of works, supported by the churches, which helped to sell them to the public, and between 1950 and I960 Aboriginal paintings began to reach overseas museums.
Keywords: Artists, stream of works, sel
Keyword Location: Paragraph E, 3rd line
Explanation: Line three of paragraph E implies that certain painting procedures and techniques as implemented by the artists assisted them to sell those paintings at a huge rate in the market. Also, during the years of 1950 and 1960, Aboriginal paintings started reaching the musuems in abroad.

Q6. Paragraph F

Answer: vii- Belief in continuity
Supporting Sentence: It is perpetuated by the cycle of the seasons and the religious ceremonies which the Aborigines organize.
Keywords: cycle of seasons, past, present and future
Keyword Location: Paragraph F, 5th line
Explanation: Line 5 of paragraph F states that Aboriginal artists’ beliefs in continuity or the elements of their dreaming never stopped and remained bolstered by all the cycle of seasons and their releigious ceremonies.

Questions 7 - 10:
Complete the flowchart below.
Choose ‘No More Than Three Words’ from the passage for each answer.
Write your answers in boxes 7 - 10 on your answer sheet.

Q7. For __________, Aborigines produced ground and rock paintings.

Answer: thousands of years
Supporting Sentence: But their art did not come like a bolt from the blue: for thousands of years Aborigines had been ‘painting' on the ground using sands of different colors, and on rock faces.
Keywords: thousands of years, ground, rock, painting
Keyword Location: Paragraph D, 5th line
Explanation: The fifth line of paragraph D explains that Aborigines made paintings on the ground and on the rock by various colors and sands for nearly thousand of years.

Q8.Early twentieth century, churches first promoted the use of ___________ for paintings.

Answer: tree bark
Supporting Sentence: In the early twentieth century. Aboriginal communities brought together by missionaries in northern Australia had been encouraged to reproduce on tree bark the motifs found on rock faces.
Keywords: missionaries, early twentieth century
Keyword Location: Paragraph E, 1st line
Explanation: Line 1 of paragraph E implies that the missionaries endorsed the use of tree barks for the purpose of paintings by the Aborigines, during the early twentieth century

Q9. Mid-Twentieth century, Aboriginal paintings were seen in _______________.

Answer: overseas museums
Supporting Sentence: Artists turned out a steady stream of works, supported by the churches, which helped to sell them to the public, and between 1950 and I960 Aboriginal paintings began to reach overseas museums.
Keywords: between 1950 and 1960, aboriginal paintings
Keyword Location: Paragraph E, 3rd line
Explanation: Line 3 of paragraph E implies that during the year if 1950 and 1960, the popularity of the Aboriginal paintings grasped the overseas musuems.

Q10. Early 1970s: Aboriginal painted traditional patterns on ______________in one community.

Answer: school walls
Supporting Sentence: It was in one such community, Papunya, near Alice Springs, in the central desert, that Aboriginal painting first came into its own. In 1971, a white schoolteacher. Geoffrey Bardon, suggested to a group of Aborigines that they should decorate the school walls with ritual motifs.
Keywords: community, 1971, ritual motifs, aborigines
Keyword Location: Paragraph D, 1st line
Explanation: Line 1 of paragraph D portrays that in 1971, a white school teacher named Geoffrey Bardon suggested the Aborigines to paint the school walls with some ritualistic concept.

Questions 11 - 13:
Choose the correct answer, A, B, C, or D
Write your answers in boxes 11 - 13 on your answer sheet

Q11. In Paragraph G, the writer suggests that an important feature of aboriginal art is

Its historical context
Its significance to the group
Its religious content
Its message about the environment

Answer: B
Supporting Sentence: Each work is created individually, with a form peculiar to each artist, but it is created within and on behalf of a community who must approve it.
Keywords: community, approve
Keyword Location: Paragraph G, 1st line
Explanation: Line 1 of paragraph G portrays that each piece of art is personally made by each artist, taking on a form that is unique to them, but it is made for and on behalf of a community that must approve it.

In Aboriginal beliefs, there is a significant relationship between

Communities and lifestyles
Images and techniques
Culture and form
Ancestors and territory

Answer: D
Supporting Sentence: An artist cannot use a 'dream' that does not belong to his or her community, since each community is the owner of its dreams, just as it is anchored to a territory marked out by its ancestors, so each painting can be interpreted as a kind of spiritual road map for that community.
Keywords: territory, ancestors
Keyword Location: Paragraph G, 2nd line
Explanation: The second line of paragraph G clarifies that since each community is the owner of its dreams and is linked to an area defined by its ancestors, an artist cannot utilise a "dream" that does not belong to their community. Each painting can therefore be seen as a sort of spiritual route map for that community.

In Paragraph I, the writer suggests that Aboriginal art invites Westerners to engage with

The Australian land
Their own art
Aboriginal culture
Their own history

Answer: C
Supporting Sentence: Their undeniable power prompts a dialogue that has proved all too rare in the history of contacts between the two cultures.
Keywords: cultures, dialogue
Keyword Location: Paragraph I, 3rd line
Explanation: Line 3 of paragraph I suggests that the art of Aborigines makes the Western community of people to come in contact with the Aboriginal culture of art.

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