DOI Page / Citation link:
https://doi.org/10.11588/diglit.42067#0103
Representative art
81
After this brief excurse, let us revert to our subject. Represen-
tations become works of art only when the technique of their
manufacture is perfectly controlled, at least by a number of in-
dividuals; in other words, when they are executed by one of the
processes, that are industrially in common
use. Where carving is practiced, we may
expect artistic form in carvings; where
painting, pottery, or metal work prevail,
artistic form is found in the products of
those industries in which the highest degree
of technical skill is attained. The Eskimo
carves in ivory, antler or bone, of which
he makes his harpoons and many other
utensils; his best representative work is
made with the knife and consists of small
carvings and etchings in which he applies
the same methods that he employs every
day. The New Zealander carves in wood,
makes delicate stonework, and paints; his
best representative work is made by these
methods. Metal work and ivory carvings
from Benin (fig. 74), headmasks from the
Cameroons (fig. 75, p. 82), wood carvings
from the Northwest coast of America (see
figs. 154—156, pp. 184, 185), pottery from
Peru, from the Yoruba country (fig. 76, p. 82),
Central America and Arkansas (fig. 77, p. 85), Fig.74. Bronze casting, Benin,
basketry of the Pima, embroideries (see
fig. 39, p. 47) and woven fabrics of the Peruvians are other examples.
Since representations that are intended to have artistic value are
made in the most highly developed technique it is not surprising
that the formal style of the technique gains an influence over the
form of the representation. The angular lines of weaving with
coarse materials and the steplike forms of diagonals which are
6 — Kulturforskning. B. VIII.
81
After this brief excurse, let us revert to our subject. Represen-
tations become works of art only when the technique of their
manufacture is perfectly controlled, at least by a number of in-
dividuals; in other words, when they are executed by one of the
processes, that are industrially in common
use. Where carving is practiced, we may
expect artistic form in carvings; where
painting, pottery, or metal work prevail,
artistic form is found in the products of
those industries in which the highest degree
of technical skill is attained. The Eskimo
carves in ivory, antler or bone, of which
he makes his harpoons and many other
utensils; his best representative work is
made with the knife and consists of small
carvings and etchings in which he applies
the same methods that he employs every
day. The New Zealander carves in wood,
makes delicate stonework, and paints; his
best representative work is made by these
methods. Metal work and ivory carvings
from Benin (fig. 74), headmasks from the
Cameroons (fig. 75, p. 82), wood carvings
from the Northwest coast of America (see
figs. 154—156, pp. 184, 185), pottery from
Peru, from the Yoruba country (fig. 76, p. 82),
Central America and Arkansas (fig. 77, p. 85), Fig.74. Bronze casting, Benin,
basketry of the Pima, embroideries (see
fig. 39, p. 47) and woven fabrics of the Peruvians are other examples.
Since representations that are intended to have artistic value are
made in the most highly developed technique it is not surprising
that the formal style of the technique gains an influence over the
form of the representation. The angular lines of weaving with
coarse materials and the steplike forms of diagonals which are
6 — Kulturforskning. B. VIII.