Abstract Artworks at Lascaux and other late Palaeolithic caves integrate geological features or “relief” of the cave wall in a way that suggests a symbiotic relation between nature and culture. I argue this qualifies as “receptivity to a situation,” which is neither fully active nor merely passive and emerges as a necessary element of the intentions made apparent by such cave art. I argue against prominent interpretations of cave art, including the shamanist account and propose a structural interpretation attentive to particular cases. Seen in this way, cave art displays intentions that are analyzable as having a tripartite structure: mentally directed, embedded in actions and receptive to a situation. Moreover, the latter is the medium through which the other two elements are conjoined. Drawing on a range of archaeological and philosophical resources from both analytical philosophy and phenomenology, I argue that what I call cave art’s “intentional story” is important for the philosophy of intentions more generally.

中文翻译：

---

旧石器时代晚期洞穴艺术中的浮雕和意图结构

拉斯科和其他旧石器时代晚期洞穴的抽象艺术品以一种暗示自然与文化之间共生关系的方式整合了地质特征或洞穴壁的“浮雕”。我认为这符合“对情境的接受性”，它既不是完全主动的，也不是被动的，而是作为这种洞穴艺术所表现出来的意图的必要元素而出现的。我反对对洞穴艺术的突出解释，包括萨满教的解释，并提出一种关注特定情况的结构解释。以这种方式来看，洞穴艺术表现出的意图可以被分析为具有三重结构：精神指导、嵌入行动和接受情况。此外，后者是结合其他两个元素的媒介。