DOI Heft:
No.127 (October, 1903)
DOI Artikel:Praetorius, Charles J.: Art in British New Guinea
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.19880#0075
Art in British New Guinea
the intention was evidently to inspire fear
and awe in the beholder of their wonderful
dances, so full of mystery. Their designs
were extravagant conventionalisms, the
production of an untutored mind. The
work, free from restraint or rule, was full of
human individuality, with a balance of line,
savage beauty, and pleasant inaccuracies,
qualities often wanting in designs by
civilised and learned craftsmen, who, full
of indistinct memories of the work of
others, unconsciously produce an un-
original, conglomerate echo, with uncertain
meaning and often without beauty.
turtle-shell dance mask drawn by c. pr^torius
Much ingenuity was shown in the various forms of
carved arrow-heads, all being conventional treatments
of some human or reptile head, carried out in a
grotesque manner. Space does not permit here the
attention they deserve as examples of a curious art.
There can be little doubt
that the Papuans of former
days produced their artistic
work from a natural desire
or instinct, not acquired by
the influence of seeing the
work of others. Their clubs,
canoe prows, personal orna-
ments, and various utensils
show simplicity of form to-
gether with a certain grace.
Decoration added to an
object seldom interfered with
its utility. The materials
and means at their disposal
limited their artistic efforts,
which would appear to have
been a simple endeavour to
express certain definite
thoughts in their minds. The
design in many cases em-
bodied some meaning of
totemistic or sacred character.
Their earliest endeavours
may. have been an attempt
simply to record objects or
scenes which they saw around
them in daily life.
In the grotesque masks drums drawn by c. pejetorius
58
the intention was evidently to inspire fear
and awe in the beholder of their wonderful
dances, so full of mystery. Their designs
were extravagant conventionalisms, the
production of an untutored mind. The
work, free from restraint or rule, was full of
human individuality, with a balance of line,
savage beauty, and pleasant inaccuracies,
qualities often wanting in designs by
civilised and learned craftsmen, who, full
of indistinct memories of the work of
others, unconsciously produce an un-
original, conglomerate echo, with uncertain
meaning and often without beauty.
turtle-shell dance mask drawn by c. pr^torius
Much ingenuity was shown in the various forms of
carved arrow-heads, all being conventional treatments
of some human or reptile head, carried out in a
grotesque manner. Space does not permit here the
attention they deserve as examples of a curious art.
There can be little doubt
that the Papuans of former
days produced their artistic
work from a natural desire
or instinct, not acquired by
the influence of seeing the
work of others. Their clubs,
canoe prows, personal orna-
ments, and various utensils
show simplicity of form to-
gether with a certain grace.
Decoration added to an
object seldom interfered with
its utility. The materials
and means at their disposal
limited their artistic efforts,
which would appear to have
been a simple endeavour to
express certain definite
thoughts in their minds. The
design in many cases em-
bodied some meaning of
totemistic or sacred character.
Their earliest endeavours
may. have been an attempt
simply to record objects or
scenes which they saw around
them in daily life.
In the grotesque masks drums drawn by c. pejetorius
58