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
There are other reasons, moreover, why this last-mentioned
circumstance, which apparently affords so strong support to the
theory of Darwin and his followers, cannot be adduced as decisively
solving the problem of purely decorative garments. In laying so great a
stress upon the time of life when the body is decorated for the first
time,[326] the advocates of the theory of erotic propitiation seem
to have overlooked that almost everywhere sexual maturity coincides
with civic majority. There is thus something to be said for the view
that tattooing, feather-dresses, and so on, are conferred upon young
men and women as outward signs of their changed status. And similarly
all ulterior decorations can be explained as indications of later
acquired rank. In ethnological literature, especially in German works,
a great body of facts has been produced which speak in favour of such
an analogy between primitive ornaments and modern signs of rank and
merit.[327] By relying on this interpretation too we may often explain,
without any reference to the advantages of courtship, the fact that
in primitive races men are generally more decorated than women. An
extreme Darwinist may perhaps object that the proportion between the
ornaments of the sexes has been inverted since the male sex began
to practise selection. But it is to be remembered that even now in
the classes for which rank distinctions are most important, viz. in
military and diplomatic circles, men generally are more gorgeously
arrayed than women.[328] And it may further be adduced as an exception
which proves the rule that on Pelew and Ponape Islands, where mothers
give children their rank, women are richly tattooed.[329]
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