@article{oai:naruto.repo.nii.ac.jp:00027844,
 author = {小川, 勝 and OGAWA, Masaru},
 journal = {鳴門教育大学研究紀要, Research bulletin of Naruto University of Education},
 month = {Mar},
 note = {The discovery of Parietal art at Chauvet, France, in 1994, for long time, has shocked the academic world of specialists for prehistoric arts. Above all, the absolute date of pigments used for confronting rhinoceros, for example, about 32，000 BP, is extraordinary against our common sense of art origin, and artistic high quality of the oldest art has needed to be explained by a proper theory. Australian Bednarik proposed the term ‘Taphonomy’ that situated the origin of art about 100，000 and more years ago. According to this theory, the art begins in simple lines, and developed to the complicated forms with colors for more than hundred thousand years. They say that humankind had made its art throughout for more hundred thousand years without intervals, and its testimonies disappeared only by the principles of Taphonomy. In this article, the author criticizes the view of art on Taphonomy because of no testimonies, and insists another concept of art, that is, Big−Bang of art. Human nature made suddenly its first art at Chauvet 32，000 years ago without any preliminary symptoms. About 40，000 years ago, Homo sapiens arrived at Western Europe to find caves, and entered them with simple lamps to see the natural forms on rock surface. They matured the power of seeing for thousand years, at last, became the first artist in the darkness. This is a story on the author’s argument of Integration. It is not only the problem of art beginnings, but also art theory in general. Thinking over Chauvet should make clear the basic principles of art.},
 pages = {421--428},
 title = {美術の「タフォノミー」について : 芸術の起源をめぐって},
 volume = {28},
 year = {2013},
 yomi = {オガワ, マサル}
}