著者

小川 勝 Masaru OGAWA

出版者

鳴門教育大学

雑誌

鳴門教育大学研究紀要 = Research bulletin of Naruto University of Education (ISSN:18807194)

巻号頁・発行日

vol.36, pp.302-311, 2021-03-10

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Parietal art was discovered at Vallon Pont'dArc, Ardeche, France on December 18th 1994, called Chauvet Cave after the name of leader for this extraordinary find. Since then, 25 years have passed, its investigation has been continued only with a single group of researchers organized by French Government. Facilities of conservation have been installed almost perfectly for the future generations, and for more hundred years we will learn the artistic values from Prehistoric Ancestors. As a Japanese scholar of cave art, I, with other 3 Japanese Professors, could enter the cave for the first time, at last, March 2nd 2020. In this writing, I am to show the background of 25 years researches, and, above all, to critic the mutable problem of dating, according to another information from Germany. Spain and so on. Lastly. I would do confirm my theory of Integration formed by Chauvet examples with magnificent artworks thorough all the ages of Homo Sapiens.

著者

小川 勝 Masaru OGAWA

出版者

鳴門教育大学

雑誌

鳴門教育大学研究紀要 = Research bulletin of Naruto University of Education (ISSN:18807194)

巻号頁・発行日

vol.21, pp.314-322, 2006-03-03

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For recent years, I have studied an artistic phenomenon of Parietal Art, Integration. It might be defined as coincidence between the natural form of rock surface and contour line of realistic animal figure. In this paper, I try to interpret Cave Art based on my consideration of Integration. Since the discovery of Cave Art at Altamira in late 19th Century, so many hypotheses to interpret motives and themes of the magnificent art in darkness have been presented. Among them, <magic> theory has been recognized as a common sense for those that are interested in Prehistoric Art. But other interpretations are possible from the viewpoint of my Integration investigation. As I estimate that Integration might be possible with human's capacity of Representation, my quest for its significance would lead me to interpret Parietal Art in my own way. Representation should have several meanings such as pleasure, possession=control, pre-being, signs and so on. Considering these aspects, I have come to think that the Palaeolithic might find out realistic animal images on the natural rock surface with simple lamps in darkness under the plural reasons of <l'art pour l'art>=autonomies, <magic> efficiency, <religious> belief, <constructionist> approach, and others. Here I would like to add my own interpretation of Parietal Art according to my research of Integration. Judging from my phenomenological methodology, the people would make sense to the world by looking out their image of animal on the natural rock surface in darkness of caves, with simple lamps. And I will continue my own way to the full understanding of Parietal Art.