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
This difficulty, however, is easily avoided by reference to another
feeling which in psychical evolution has probably preceded the
appearance of modesty. It is perhaps impossible to decide at what
stage sexual life began to be surrounded with feelings of shame,—in
other words, in what instances one is entitled to speak of modesty
and conscious chastity. But there is no doubt that even among the
lowest savages the facts of generation are regarded with a wonder
which sometimes approaches awe, and sometimes rises to religious
respect.[316] Since at a somewhat higher degree of development phallic
symbols occupy so dominant a place in religious systems, it is only
natural to suppose that the realities represented by these symbols
have been regarded by the primitive with superstitious feelings. It is
probable, therefore, that there are many primitive tribes which, in the
same way as the aborigines of the New Hebrides, cover themselves in the
most scrupulous manner, “not at all from a sense of decency, but to
avoid Narak, _i.e._ magic influence,” the sight even of another man’s
nakedness being considered as most dangerous.[317] The large prevalence
of phallic motives in amulets and magically protecting paintings,[318]
the supposed effective sorcery of indecent gestures, so widely used
even now by the modern Italians,[319] indicate that the organs of
generation have been universally considered as the seat of a powerful
and dangerous magic. Perhaps this superstitious idea has even been
the original source of the notion that exposure involves the gravest
offence against the honour of the beholder.[320] Sometimes, on the
other hand, dread of this supposed mysterious power may have prompted
the evolution of moral institutions, and thus indirectly furthered
the moral feelings. But it is evident that even before any such
transformation took place regard for public safety may have induced the
males to conceal the seat of so dangerous an influence.
The reproductive organs, however, are not only, in virtue of
their connection with the mysterious miracle of life, objects of
superstitious awe: they themselves, owing to the same consideration,
need more than anything else to be protected against dangerous
influences. Fear of the evil eye has thus, as Ratzel suggests, had
something to do with the origin of male and female dress.[321] And the
notion of malignant looks is only one of the superstitions that keep
the savage man in a state of constant fear. All the innumerable spirits
that populate his atmosphere constitute so many dangers, against which
he has to protect himself by every possible means. This necessity is
probably even greater for the female sex than for the men.
Public-domain text, read in full here on John Shaqi.
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