DOI Page / Citation link:
https://doi.org/10.11588/diglit.42067#0124
102
Symbolism
flag, cannot appropriately be used at all places and at all times, and
insignia of rank are confined to those who have the right to wear
them. Just so, totemic devices may be used only by the privileged,
not by those who belong to another totem. Strong emotional values
are commonly associated with all forms that are used in important
rituals. The simple ornaments of cedarbark dyed red wich are used
by the Indians of British Columbia have such an appeal, because
the ornamental attachments symbolize the gifts that the wearer has
received from his supernatural protector.
It is readily recognized that these conditions can prevail only
when the interpretation of the ornament, and with it its emotional
significance are firmly established in the minds of the people; if all
react without fail, without hesitation to the same pattern. This is
not by any means the case everywhere. On the contrary, many
cases are known in which there is considerable wavering in regard
to the meaning of the symbol. One person may interpret it one
way, another another way. For instance, in the designs of the
Californian Indians, the same form will be called by different people,
or even by the same person at different times, now a lizard’s foot,
then a mountain covered with trees, then again an owl’s claw. It is
conceivable that an individual may feel a strong emotional value
of a design, but in a case of variable associations the symbol has
no binding emotional value for the whole tribe. It will be the
less relevant the more variable the individual and tribal associations.
I believe this is also the reason why among ourselves an ex-
pressionistic art is impossible, or why at least it cannot appeal to
the people as a whole. It is possible for an artist to train a group
of followers and admirers in the symbolism that he cultivates, but
it is exceedingly unlikely that such symbolism should develop in
such a way that it would be felt automatically by all of us. In
music a few associations of this type exist. We feel, for instance,
the difference of mood in the major and minor keys; the former
mood joyful and energetic; the latter gentle, moody or even sad.
It is well to remember that these emotional tones are not by any
Symbolism
flag, cannot appropriately be used at all places and at all times, and
insignia of rank are confined to those who have the right to wear
them. Just so, totemic devices may be used only by the privileged,
not by those who belong to another totem. Strong emotional values
are commonly associated with all forms that are used in important
rituals. The simple ornaments of cedarbark dyed red wich are used
by the Indians of British Columbia have such an appeal, because
the ornamental attachments symbolize the gifts that the wearer has
received from his supernatural protector.
It is readily recognized that these conditions can prevail only
when the interpretation of the ornament, and with it its emotional
significance are firmly established in the minds of the people; if all
react without fail, without hesitation to the same pattern. This is
not by any means the case everywhere. On the contrary, many
cases are known in which there is considerable wavering in regard
to the meaning of the symbol. One person may interpret it one
way, another another way. For instance, in the designs of the
Californian Indians, the same form will be called by different people,
or even by the same person at different times, now a lizard’s foot,
then a mountain covered with trees, then again an owl’s claw. It is
conceivable that an individual may feel a strong emotional value
of a design, but in a case of variable associations the symbol has
no binding emotional value for the whole tribe. It will be the
less relevant the more variable the individual and tribal associations.
I believe this is also the reason why among ourselves an ex-
pressionistic art is impossible, or why at least it cannot appeal to
the people as a whole. It is possible for an artist to train a group
of followers and admirers in the symbolism that he cultivates, but
it is exceedingly unlikely that such symbolism should develop in
such a way that it would be felt automatically by all of us. In
music a few associations of this type exist. We feel, for instance,
the difference of mood in the major and minor keys; the former
mood joyful and energetic; the latter gentle, moody or even sad.
It is well to remember that these emotional tones are not by any