The central tribes make a useful gouge out of a strong hollow bone of the kangaroo or dingo by splitting it longitudinally and grinding down its ends on the slope. The implement thus fashioned has a sharp, bevelled, semi-cylindrical cutting edge at either one or both ends.
We now come to the consideration of another big and important branch of primitive art, which comprises the charcoal, kaolin, and ochre drawings of the aboriginal of Australia. As did his palæolithic relative in the Old World, the aboriginal during the rainy season spends much of his time under the cover of overhanging rock shelters, well within the cheerful influence of his never-failing fire. Moreover, in mid-summer months, when the heat of the sun becomes intense, he often finds his way to the same haunts to have the full benefit of the shade the solid walls of rock produce. Congregated under these conditions, there are always some who spend their time in decorating the surrounding walls of the cave. This may be done for purely æsthetic reasons, or as the result of a discussion, or, indeed, to sanctify the abode and so to make it impregnable to the Evil Spirit. Whatever the reason may be, the mere act of drawing a figure upon the wall by a recognized artist always solicits the patronage of many, who will follow the different manipulations of the entertainer with considerable interest. There are usually a few men in every tribe who have established a reputation as artists; and their work is prized by the heads and protected by tribal law from the hands of vandals who would at a frivolous moment deface or disfigure a work of art which the tribe is proud to look upon as their own. It is gratifying to observe that there is very little tendency on the part of the aboriginal, humble as he is, to destroy wantonly or deliberately a work designed to create an environment for him during his leisure or to protect his body and kin against aggression by evil during the darkness of night.
Fig. 17. “Dangorra,” the great emu in the southern sky.
Usually the interior of rock shelters and caves has, in consequence of long ages of weathering and mineral precipitation, become deeply stained and dark in colour. In addition, the continued burning of fires within has helped to smut the stony roof. This condition makes an admirable background for the application of colour. Where the wall is black, charcoal naturally finds no favour, and the pigments available are reduced to white, yellow, and red.
Pipe-clay and ochres are always stocked in quantity; not a tribe in the whole of Australia has ever been known to be without them. Where the tribal ground is not in possession of natural deposits, supplies are obtained from a neighbouring tribe, it may be from considerable distance, by barter or by an actual expedition to the ochre mine.
In quite the same sense as modern peoples refer to red ochre as blood-stone, the natives of Australia connect the formation of the natural, red pigment with blood mythologically.
There is a fine deposit of red ochre in the Flinders Ranges, near Parachilna, which for ages past has supplied more than one tribe with pigment; the mine was known as Yarrakinna. The ochre was regarded as the blood of a sacred emu which was there killed by a horde of wild dogs. From time immemorial the “Salt-water Tribe” used to send a number of its men across from Queensland to obtain a large supply of the precious stone at the spot and return with it to their native ground.