DOI Page / Citation link:
https://doi.org/10.11588/diglit.42067#0143
Symbolism
121
of it. The stylistic similarity, or better, identity of the pattern on
the plains is so great that it cannot possibly have developed from
several independant sources. It is part and parcel of the general art
style of the area that has developed either in one spot, or what
seems more probable, by the conflux of artistic activities of a num-
ber of tribes. Thirty or forty years ago, under the strong influ-
ence of the evolutionary theory, the psychologising ethnologist might
have interpreted this similarity as due to the sameness of the reac-
tion of the human mind to the
same or similar environmental
causes, — as Daniel G. Brinton
explained the similarity of Algon-
quin and Iroquois mythologies.
However, the development of our
science since that time has so
firmly established the fact that
even the most primitive cultures
must be considered as having had
a historical development no less
complex than that of civilization,
that the theory of independent
origin of almost identical phenomena in contiguous areas can no
longer be maintained and has been given up by all serious students.
When we study the significance of the pattern we find the
greatest possible divergence of meaning. As pointed out before,
different individuals in one tribe, do not all assign to it the same
meaning, but more or less decided tendencies to certain interpre-
tations are found in each tribe. The design is sometimes drawn
steeply and the sides of the triangle extend slightly beyond the
apex. Thus the form of a tent with tent poles, doorway and pegs
for pinning down the tent cover is expressed. At other times the
triangle is more obtuse and represents a hill. It may be placed on
a white background which signifies snow or sand; blue lines ex-
tending downward from the base indicate springs of water and
121
of it. The stylistic similarity, or better, identity of the pattern on
the plains is so great that it cannot possibly have developed from
several independant sources. It is part and parcel of the general art
style of the area that has developed either in one spot, or what
seems more probable, by the conflux of artistic activities of a num-
ber of tribes. Thirty or forty years ago, under the strong influ-
ence of the evolutionary theory, the psychologising ethnologist might
have interpreted this similarity as due to the sameness of the reac-
tion of the human mind to the
same or similar environmental
causes, — as Daniel G. Brinton
explained the similarity of Algon-
quin and Iroquois mythologies.
However, the development of our
science since that time has so
firmly established the fact that
even the most primitive cultures
must be considered as having had
a historical development no less
complex than that of civilization,
that the theory of independent
origin of almost identical phenomena in contiguous areas can no
longer be maintained and has been given up by all serious students.
When we study the significance of the pattern we find the
greatest possible divergence of meaning. As pointed out before,
different individuals in one tribe, do not all assign to it the same
meaning, but more or less decided tendencies to certain interpre-
tations are found in each tribe. The design is sometimes drawn
steeply and the sides of the triangle extend slightly beyond the
apex. Thus the form of a tent with tent poles, doorway and pegs
for pinning down the tent cover is expressed. At other times the
triangle is more obtuse and represents a hill. It may be placed on
a white background which signifies snow or sand; blue lines ex-
tending downward from the base indicate springs of water and