The origins of art; a psychological & sociological inquiryHirn, Y. (Yrjö)
Philosophy
The origins of art; a psychological & sociological inquiry
Hirn, Y. (Yrjö)
Aesthetics; Art -- Philosophy; Art, Primitive
To begin with the class which stands in the closest connection with
sexual life, we have already shown that all the various coverings by
which primitive man conceals his nakedness, by attracting the attention
are likely to produce a sort of sexual stimulation in the primitive
spectator.[310] In some cases,—for instance that of the dancing
girdles, which are especially put on for the occasion of erotic dances
and festivals,—this stimulation is evidently intentional.[311] But it
seems impossible to assume that a knowledge of this effect can have
been the motive for the use of those phallocrypts which are worn by
the Amaxosas in South Africa, by the natives of Central Brazil, by
the Melanesians in the Admiralty Islands and on the north-western
and south-western coasts of New Guinea, by the Australians of
north-western Central Queensland, and by the Polynesians of the
Marquesas Islands.[312] As far as we know, it is only in Australia
that these things are especially employed at corroborees and public
rejoicings.[313] Nor is there anything that could attract the eye
in all the simple bamboo sheets that can be seen at the Museum für
Völkerkunde in Berlin. In some cases they have perhaps been worn for
the purely practical purpose of protecting a sensitive part against
insect bites.[314] But it seems more probable, on an examination of
their shape, that they really are intended as means of concealment in
the proper meaning of the word. There is of course no reason why they
should not be considered as fulfilling the requirements of modesty.
But even if such be their purpose now, it is difficult to assume that
they were originally called into existence by a feeling which, from the
evolutionist point of view, one rather would consider as a product of
clothes than as their cause.[315]
Public-domain text, read in full here on John Shaqi.
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