DOI Page / Citation link:
https://doi.org/10.11588/diglit.42067#0179
Style
155
Granting all this, it still remains obscure why there should be
that degree of individualization of style that is actually observed
even where similar technical processes prevail. The Indians of
Guiana and the Indonesians use the same methods of weaving in
rather broad, stiff materials. The technical conditions controlling
their basketry work are practically the same. Nevertheless the
styles of art they use are quite distinctive.
We conclude from this that besides the influence of the technique
there must be some other causes that determine the individual style
of each area. I doubt very much that it will ever be possible to
give a satisfactory explanation of the origin of these styles, just as
little as we can discover all the psychological and historical conditions
that determine the development of language, social structure, mythol-
ogy or religion. All these are so exceedingly complex in their
growth that even at best we can do no more than hope to unravel
some of the threads that are woven into the present fabric and
determine some of the lines of behavior that may help us to realize
what is happening in the minds of the people.
We have to turn our attention first of all to the artist himself.
Heretofore we have considered only the work of art without any
reference to the maker. Only in the case of slovenly work have
we referred to the artisan. It has appeared that his behavior as
revealed in his work helped us to understand the fate of the designs.
We may hope, therefore, that in the broader question also know-
ledge of the attitude and actions of the artist will contribute to a
clearer understanding of the history of art styles. Unfortunately,
observations on this subject are very rare and unsatisfactory, for it
requires an intimate knowledge of the people to understand the
innermost thoughts and feelings of the artist. Even with thorough
knowledge the problem is exceedingly difficult, for the mental
processes of artistic production do not take place in the full light of
consciousness. The highest type of artistic production is there, and
its creator does not know whence it comes. It would be an error
to assume that this attitude is absent among tribes whose artistic
155
Granting all this, it still remains obscure why there should be
that degree of individualization of style that is actually observed
even where similar technical processes prevail. The Indians of
Guiana and the Indonesians use the same methods of weaving in
rather broad, stiff materials. The technical conditions controlling
their basketry work are practically the same. Nevertheless the
styles of art they use are quite distinctive.
We conclude from this that besides the influence of the technique
there must be some other causes that determine the individual style
of each area. I doubt very much that it will ever be possible to
give a satisfactory explanation of the origin of these styles, just as
little as we can discover all the psychological and historical conditions
that determine the development of language, social structure, mythol-
ogy or religion. All these are so exceedingly complex in their
growth that even at best we can do no more than hope to unravel
some of the threads that are woven into the present fabric and
determine some of the lines of behavior that may help us to realize
what is happening in the minds of the people.
We have to turn our attention first of all to the artist himself.
Heretofore we have considered only the work of art without any
reference to the maker. Only in the case of slovenly work have
we referred to the artisan. It has appeared that his behavior as
revealed in his work helped us to understand the fate of the designs.
We may hope, therefore, that in the broader question also know-
ledge of the attitude and actions of the artist will contribute to a
clearer understanding of the history of art styles. Unfortunately,
observations on this subject are very rare and unsatisfactory, for it
requires an intimate knowledge of the people to understand the
innermost thoughts and feelings of the artist. Even with thorough
knowledge the problem is exceedingly difficult, for the mental
processes of artistic production do not take place in the full light of
consciousness. The highest type of artistic production is there, and
its creator does not know whence it comes. It would be an error
to assume that this attitude is absent among tribes whose artistic