Fig. 24. Charcoal sketch of native hunting buffalo, Pigeon Hole, Victoria River (× 1/3). Tracing.
We have frequently referred to the fact that during corrobborees and ceremonial dances, the bodies of the performers are decorated. White pipe-clay is one of the principal pigments used, although red ochre is also much in evidence. In the performance of ceremonies, we learned that a common motive embodied in the decorations was the human skeleton. The quickest, and perhaps most effective, way of whitening the face in the representation of the skull is for the performer to literally “wash” it in finely crushed pipe-clay. To accomplish this, he scoops a quantity of the material with his hands, and, closing his eyes, rubs the stuff all over his face and possibly his head, too. By this process even the eyelids are thoroughly whitened. The other lines, horizontal and vertical, which are to represent the bones, he rubs on to the body with his fingers ([Plate XLVI]).
Fig. 25. Charcoal sketch of native spearing kangaroo, Pigeon Hole, Victoria River (× 2/5). Tracing.
Another method is to apply the paint in the form of a water mixture, similar to that described when discussing the ochre drawings. For this purpose, especially when an important event is pending, a number of men are chosen to attend to the “make up” of the performers. The assistants kneel beside those who are to act, and apply the paste with their fingers. The most delicate parts to handle are the eyelids. The actor is required to close his eyes whilst the artist carefully applies the paste to the lids; but it occasionally happens that some of the material slips on to the eyeball and is rubbed against it before the sufferer can give the alarm. Vide [Plate XLV], 2.
We have already referred to the coloured down decorations which are attached with human blood to the bodies of the performers taking part in sacred and other ceremonies, and we have also mentioned a ground drawing known as “Etominja” ([Plate XXXVII]), which is constructed in a similar way. Some of the latter (e.g. the “walk-about” of the “Tjilba Purra Altjerra Knaninja”) are very large; others, as for instance that connected with the “Erriakutta” or yelka ceremony, are constructed over the entire surface of mounds which cover many square feet of ground.
Having briefly reviewed the different methods of art production in vogue in Australia, we shall proceed to consider a number of the designs in greater detail, deduce their origin, trace their evolution, and, where possible, give their interpretation. It will be realized at the outset that some of the designs are crude in the extreme, whilst others are undeniably shapely and quite up to the standard of an average European’s artistic proficiency. The latter remarks apply best to actual representations of natural forms. It must be remembered that the artistic reproductions an aboriginal makes are invariably from memory; the primitive artist never draws with a model in front of him. If we were to ask a number of Europeans to draw, say a horse from memory, there is no doubt we should receive a great variety of results in response to our request. So, among the aboriginal artists, there is a great diversity of talent which is more individual than tribal.
If, for instance, we study the different attempts at representing the form of one of the most familiar subjects we could ask an aboriginal to experiment upon—the ubiquitous kangaroo —we should find by comparison of the productions placed before us, a very marked difference in quality. Compare, for instance, the two pictures of kangaroo on [Plate XLVII]. They are the works of men of the same tribe, are all similarly drawn, and come from the same locality. Yet, in the upper picture, the outline and proportions of the two animals are so incorrect that it is very doubtful whether many people not acquainted with the locality would guess what animal the pictures are intended to represent. In the lower picture, however, anybody acquainted with the shape of a kangaroo would have no hesitation in pronouncing his diagnosis. The characteristic attitude, the large tail, the disproportion between the front and hind limbs, and the shape of the head are quite true enough to nature to permit of correct identification.
