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Alfred C. Haddon. Evolution in Art: As Illustrated by the Life-histories of Designs
Evolution in Art: As Illustrated by the Life-histories of Designs
Table of Contents
PREFACE
SOURCES OF THE ILLUSTRATIONS
INTRODUCTION
DECORATIVE ART OF BRITISH NEW GUINEA
I.—Torres Straits and Daudai
II.—The Fly River
III.—The Papuan Gulf
Classification of Carved Patterns on Wooden Belts from the Gulf of Papua
I. Single row of faces disposed vertically, the faces alternately looking up and down
II. Single row of faces disposed horizontally
III. Double row of faces disposed vertically
IV. Double row of faces disposed horizontally
V. Treble row of faces
IV.—The Central District
V.—The Massim District
VI.—Relation of the Decorative Art to the Ethnology of British New Guinea
VII.—Note on the Scroll Designs of British New Guinea
THE MATERIAL OF WHICH PATTERNS ARE MADE
I.—The Decorative Transformation and Transference of Artificial Objects
1. Transformation of a Solitary Object
2. Transference of Fastenings
3. Skeuomorphs of Textiles
4. Skeuomorphic Pottery
5. Stone Skeuomorphs of Wooden Buildings
6. Skeuomorphic Inappropriateness
II.—The Decorative Transformation Of Natural Objects
1. Physicomorphs
2. Biomorphs
A. Representation of Abstract Ideas of Life
B. Phyllomorphs
The Lotus and its Wanderings
C. Zoomorphs
D. Anthropomorphs
E. Biomorphic Pottery
3. Heteromorphs
A. Heteromorphs of Skeuomorphs
B. Heteromorphs of Biomorphs
C. Complex Heteromorphs
THE REASONS FOR WHICH OBJECTS ARE DECORATED
I. Art
II. Information or Communication
Pictographs
III. Wealth
IV. Magic and Religion
1. Sympathetic Magic
2. Totemism
3. Religion
4. Religious Symbolism
A. The Meaning and Distribution of the Fylfot
B. The Psychology of Symbolism
A. Note on Mental Inertia
THE SCIENTIFIC METHOD OF STUDYING DECORATIVE ART
I. Application of Biological Deductions to Designs
II. The Geographical Distribution of Animals and of Designs
III. General Remarks on the Method of Study
EXPLANATION OF THE PLATES
INDEX
Footnote
