Evolution in Art: As Illustrated by the Life-histories of Designs

by Alfred C. Haddon

THE SCIENTIFIC METHOD OF STUDYING DECORATIVE ART.

There are two ways in which art may be studied—the æsthetic and the scientific.

The former deals with all manifestations of art from a purely subjective point of view, and classifies objects according to certain so-called “canons of art.” These may be the generally recognised rules of the country or race to which the critic belongs, and may even have the sanction of antiquity, or they may be due to the idiosyncrasy of the would-be mentor.

In criticising the art of another country it must be remembered that racial tendencies may give such a bias as to render it very difficult to treat foreign art sympathetically. Western Europe and Japan are cases in point. Dogmatism in æsthetics is absurd, for, after all, the æsthetic sense is largely based upon personal likes and dislikes, and it is difficult to see what sure ground there can be which would be common to the majority of people.

The æsthetic study of art may very well be left to professional art critics.

We will now turn to a more promising field of inquiry, and see what can be gained from a scientific treatment of art. This naturally falls into two categories, the physical and the biological.

I am not aware that much has been done towards establishing a physical basis for art. The pleasurable sensations which line, form, and colour may give rise to are doubtless analogous to those caused by musical sounds, but with this difference, that the latter are caused by the orderly sequence of particular vibrations, whereas the vibrations of the former are synchronous. It is possible that not only must the character of these vibrations be taken into account, but that the structure of the human eye and personal equation must be allowed for in an analysis of the pleasurable sensations caused by any work of art. These remarks necessarily refer only to the forms of things; their meaning and the sensations thereby evoked belong to the domain of psychology.

I. Application of Biological Deductions to Designs.

At present, however, we are only concerned with the biological treatment of art. Nor need surprise be felt if an attempt is made to deal with art as a branch of biology. For is not art necessarily associated with intelligence? Is not intelligence a function of the brain? And is not the brain composed of some form of protoplasm? Art is thus one only of the myriad results of the activity of protoplasm. If this be true, art must be subject to the same general laws which act on all living beings.