DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.42067#0168
STYLE
We have to take up now the problem of individual art styles.
The general formal elements of which we spoke before, namely
symmetry, rhythm, and emphasis or delimitation of form, do not
describe adequately a specific style, for they underlie all forms of
ornamental art. Representative art is more apt to develop differential
features, for in each area symbolic, perspective and wavering repre-
sentations have peculiar, pronounced characteristics. The principles
of symbolic selection and the method of composition help to indi-
vidualize representative art forms; but, besides these, many formal
elements are integral parts of every art style and these give it its
most specific character. The New Zealander, the Melanesian, the
African, the Northwest American, the Eskimo,— all are in the habit
of carving human figures in the round. They are all representative,
and still the provenience of each is easily determined on account of
very definite formal characteristics.
We shall direct our attention to an elucidation of the principles
by which art styles may be described. We shall also ask ourselves,
in how far the historical and psychological conditions under which
art styles grow up and flourish may be understood.
It will be well to begin with a simple problem. We have seen
that we may consider as works of art undecorated implements made
by a perfectly controlled technique,—in other words made by a
virtuoso. Such are polished stone axes, chipped arrow or lance
heads, iron spear heads, spoons, boxes; in short, any object of daily
use, provided only the form which we may recognize as conceived
in crude specimens, is worked out in a perfect technique. Objects
of this kind, used for the same purposes, have not by any means
the same form everywhere. The specimens accumulated in ethnol-
ogical museums prove that, until very recent times, before contamina-
tion by European wares, each locality, and also each cultural period
had developed fixed types that were rigidly adhered to.
We have to take up now the problem of individual art styles.
The general formal elements of which we spoke before, namely
symmetry, rhythm, and emphasis or delimitation of form, do not
describe adequately a specific style, for they underlie all forms of
ornamental art. Representative art is more apt to develop differential
features, for in each area symbolic, perspective and wavering repre-
sentations have peculiar, pronounced characteristics. The principles
of symbolic selection and the method of composition help to indi-
vidualize representative art forms; but, besides these, many formal
elements are integral parts of every art style and these give it its
most specific character. The New Zealander, the Melanesian, the
African, the Northwest American, the Eskimo,— all are in the habit
of carving human figures in the round. They are all representative,
and still the provenience of each is easily determined on account of
very definite formal characteristics.
We shall direct our attention to an elucidation of the principles
by which art styles may be described. We shall also ask ourselves,
in how far the historical and psychological conditions under which
art styles grow up and flourish may be understood.
It will be well to begin with a simple problem. We have seen
that we may consider as works of art undecorated implements made
by a perfectly controlled technique,—in other words made by a
virtuoso. Such are polished stone axes, chipped arrow or lance
heads, iron spear heads, spoons, boxes; in short, any object of daily
use, provided only the form which we may recognize as conceived
in crude specimens, is worked out in a perfect technique. Objects
of this kind, used for the same purposes, have not by any means
the same form everywhere. The specimens accumulated in ethnol-
ogical museums prove that, until very recent times, before contamina-
tion by European wares, each locality, and also each cultural period
had developed fixed types that were rigidly adhered to.