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
It is not necessary for the present purpose to submit to a close
analysis all the other theories of bodily embellishment which oppose an
unrestricted application of the Darwinian interpretation. Suffice it
to say that facts exist which support almost every one of these views.
Thus it seems quite unquestionable that tattooings often serve as a
means of conveying intellectual information.[334] Not only are exploits
of valour which provide an occasion for boasting ornament registered by
incisions on the body, but this primitive record may also be used in
order to commemorate other events that have made a great impression on
the individual in question.
The most instructive example of such essentially commemorative
self-decoration that is known in ethnological literature is no doubt
the tattooing of Tepane, the native of the Eastern Island whom Dr.
Stolpe met in Tahiti. On his right fore-arm this highly interesting
individual wore a pattern which, although insignificant at first
sight, on closer examination showed itself to be nothing less than
a pictorial description of the memorable event when the great stone
idols, now outside the British Museum, were hauled down from their
original place to the British ship which was going to take them over
sea. Among the figures on this little historical picture Tepane himself
was able to point out the first and second officer of the _Topaz_,
who, standing somewhat apart, watched the work of the sailors.[335] It
is indeed exceptional to meet with such complete realistic drawings
among the “motives” of tattoo. But there is no doubt that by symbolical
representation sights and events have often been recorded on the body,
this most primitive of all commonplace-books.
There is no default of instances showing that decoration, fixed as well
as detached, has been largely used as a magical protection against
illness, bewitching, or evil eye.[336] This superstitious intention
appears with unmistakable evidence in the decorations of the Xingu
tribes of the interior Brazil, where children and pregnant women,
_i.e._ persons who particularly need to be guarded against malignant
influences, are richly decorated with collars of beads, teeth, bones,
and so on.[337] Among these Indians Professor von den Steinen was also
able to find some typical examples of the process, which has been
observed in several other tribes, by which a cosmetic painting of
the body is developed from a purely practical greasing with earth or
fat, executed in order to preserve the skin against weather or insect
bites.[338]
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