Art.
At first thought it seems surprising that art can be ultimately traced back to the self-ornamentation of the savage; yet this is probably true. The earliest people of whom we know loved to paint their bodies; the American Indians made ready for feast or war by painting their bodies in startling colors, and the tribes lowest today in the social scale—tribes of Central Australia—have a similar practice. Dark skinned tribes have frequently painted themselves with white; fair skinned tribes with dark colors. The use of colors among primitive peoples is an interesting study, and it is significant to note that red has always been a favorite.
"Red—and particularly yellowish red—is the favorite color of the primitive as it is the favorite color of nearly all peoples. We need only observe our children to satisfy ourselves how little taste on this point has changed. In every box of water colors the saucer that contains the cinnabar red is the first one emptied; and 'if a child expresses a particular liking for a color, it is nearly always a bright dazzling red. Even adults, notwithstanding the modern impoverishment and blunting of the color sense, still, as a rule, feel the charm of red.'... It may be questioned whether the strong effect of red is called out by the direct impression of the color, or by certain associations. Many animals have a feeling for red similar to that of man. Every child knows that the sight of a red cloth drives oxen and turkeys into the most passionate excitement.... As to the primitive peoples, one circumstance is here significant above all others. Red is the color of blood, and men see it, as a rule, precisely when their emotional excitement is greatest—in the heat of the chase and of the battle. In the second place, all the ideas that are associated with the use of the red color come strongly into play—recollections of the excitement of the dance and combat. Notwithstanding all these considerations, painting with red would hardly have been so generally diffused in the lowest stages of civilization if the red coloring material had not been everywhere so easily and so abundantly procurable. Probably the first red with which the primitive man painted himself was nothing else than the blood of the wild beast or the enemy he had slain. At present most of the decoration is done with a red ochre, which is very abundant nearly everywhere, and is commonly obtained through exchange by those tribes in whose territory it is wanting."[4]
The difficulty found in this means of decoration is that it is not lasting. However skillfully the savage covers himself with solid coloring or design, a short time only and his labor is effaced. To overcome this trouble, tattooing was devised. By this means the color was placed beneath the skin and thus not subject to change. Very elaborate patterns were sometimes worked out and the man so ornamented was far more attractive in the eyes of his fellowmen.
Next to the personal adornment of primitive peoples comes the decoration of their weapons and implements and the patterns in their handicrafts, such as basketry and mattings. Generally speaking those are in imitation of nature, and more, imitation of human and animal forms. Heretofore it has not been unusual to dismiss these as merely geometrical designs. Surely they were never such in the mind of the ancient worker. He copied things that he saw around him—copied them awkwardly no doubt, but nevertheless certainly. Some of these patterns we can recognize; others defy us. For example, the waving line has been interpreted to represent the course of the serpent; the herring bone pattern originated as a copy of the feather. Sometimes the patterns copy the skin markings of some animal or serpent; sometimes they imitate the scales of a fish. Very seldom have these early artists attempted to copy plants or flowers. Sometimes the bone knife bears an excellent drawing of a bird or fish; occasionally the whole object has been given the form of some living creature, as, for example, bone needle cases have come to us which have the form of fish or birds. Shields, knives, bows and arrows, and weapons of whatever sort often bore some picture, more or less decorative. Such a picture upon an arrow enabled the savage to identify as his game some animal that died some distance from where it was wounded. Clubs and throw-sticks remain whereupon is scratched the picture of some familiar animal—a kangaroo, a snake, or a fish. But the pictures painted by primeval man were not limited to those which adorned their weapons and implements. The hide pictures, or pictures painted or scratched upon hides are very interesting. Generally the hide used for this purpose was a portion of the hut. During times when inclement weather forced the early tribesman to remain inside for shelter, it may be, merely for diversion he occupied himself by scratching some picture upon the soot-covered skin that formed his hut. A tooth or bit of flint furnished him with a tool. Or again, a piece of charcoal, snatched from the hearth, furnished him means of picturing some scene upon a fresh skin. Figures of men and animals, drawn in outline, make up the picture. Now a battle, now a hunting scene may be delineated. The Eskimo brings into his picture some of the round snow huts, with the animals which he hunts—bears, walruses, and the like. In detail and accuracy of outline the tribes still in the hunting stage greatly excel those which have developed into a settled farming people. Nor is this difficult to understand. The success of the hunter depends in no small degree upon his ability to follow the faint foot-prints of the game. He must be susceptible to many indications wholly unseen by the casual eye. The keen vision of the uncivilized hunter is well recognized. When he no longer needs this wonderful sight to accomplish his daily tasks, it disappears. For this reason we find a fidelity to nature in the pictures of the early hunting peoples which is missed in the productions of more highly developed peoples.
Finally we may gather these conclusions from the facts known of primitive art—or of art among primitive peoples. While no great masterpieces remain as models for future generations, it is among prehistoric men that art had its beginnings. Nor is it possible to sweep aside the art of this remote period, relegating it to the realm of the curious alone. Recent scholarly investigators in this field have reached far different conclusions, finding here the indications of man's artistic possibilities and the promise for the future.
"The agreement between the artistic works of the rudest and of the most cultivated peoples is not only in breadth but also in depth. Strange and inartistic as the primitive forms of art sometimes appear at the first sight, as soon as we examine them more closely, we find that they are formed according to the same laws as govern the highest creations of art.... The emotions represented in primitive art are narrow and rude, its materials are scanty, its forms are poor and coarse, but in its essential motives, means, and aims, the art of the earliest times is at one with the art of all times."[5]