A Manual of the Historical Development of Art: Pre-Historic—Ancient—Classic—Early Christian; with Special Reference to Architecture, Sculpture, Painting, and OrnamentationZerffi, G. G. (Gustavus George)
History
A Manual of the Historical Development of Art: Pre-Historic—Ancient—Classic—Early Christian; with Special Reference to Architecture, Sculpture, Painting, and Ornamentation
Zerffi, G. G. (Gustavus George)
Art -- History
of years later, have left them far behind. The Chinese sacrifice
everything to preconceived ideas of custom--in morals, science, and
art. As our forefathers did, let us do also. The result of this
principle has been that curious, grotesque, and ingenious, but above
all childish art, which we must study as the link between savage and
Aryan art. Whilst the Negro scarcely went beyond geometrical figures,
we find the Turanian already capable of using plants and the lower
kinds of animals in ornamentation, in addition to geometrical figures.
As soon, however, as he approaches beings, in whom proportion, action,
and expression, as the higher elements of form, prevail, he loses his
power of reproduction altogether.
Matter-of-fact prose is the element of the Turanian; he is without
every higher artistic feeling, because his mode of writing, speaking,
and thinking, his religious, social, and political organisation, has
till lately checked all expansion of the imagination, and the use of
the intellectual faculties. Art with him has remained undeveloped, and
however interesting his products may be, they form only a subject for
our curiosity and perhaps momentary fashion, showing what humanity at
large did when in its _infancy_.
CHAPTER V.
INDIA, PERSIA, ASSYRIA, AND BABYLON.
Our tree of art, with its manifold branches, flowers, and fruits,
rooted in the unknown origin of the three great groups of humanity,
shows that the Negro, or black branch, had a very short growth. It
still lives on in savage art, but is crippled, and has no vitality.
Next we have seen the long line of Turanian art, represented by
the Chinese; it originates in the geological age, passes through
the mythical, traditional, and historical periods, and continues
uninterruptedly to modern times. We have up to this point treated of
the artistic productions of the Negro and Turanian groups, both of
which stand without the pale of real history.
We now take up the art-history of the Aryan, the historical group.
The birth-place of this group undoubtedly was Central Asia. Thence
the pure Aryan group took two divergent roads. One division crossed
over the Himâlâya Mountain chain, and settled round the Brahmapootra,
the Indus and Ganges rivers, and the other remained on this side
of the mountains. The Aryans may, therefore, be best divided into
Trans-Himâlâyans and Cis-Himâlâyans. In these two groups we find the
oldest traces of a power slowly awakening to full consciousness. We
can perceive in remote ages, only measurable by means of analogy and
deduction, an endeavour to solve the greatest problems of our existence.
Public-domain text, read in full here on John Shaqi.
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