Representative Art of Primitive People 



By Franz Boas 



HEN studying the graphic and plastic arts of primitive 

 people, two aspects have to be distinguished — the type of 

 art which develops from the mastery of technique, and 

 the other which develops from the attempts at a graphic 

 representation of objects which interest the people. 

 When we speak of art, we have to bear in mind that all art implies 

 technical skill. It is therefore an improper use of the term to speak of 

 primitive art when we refer to objects in which the producer does not 

 possess that mastery of technique that makes the product of his 

 labors a work of art. A basket, a pot, or a wooden object, crudely 

 made and irregular in outline, cannot claim the term of a product of 

 artistic activity. On the other hand, the increase in skill brings it 

 about that the products of the handicraft of man attain an artistic 

 value. An inexperienced basket-maker who does not control the 

 movements of her hands will produce an uneven fabric, the stitches 

 of which will be different in size and different in texture, and which 

 will for this reason possess an irregular surface. On the other hand, 

 the expert basket-weaver will have such control over her movements 

 that all the various operations will be performed in an automatic 

 manner; so that the intensity of pull and the manner of twisting that 

 are necessary in these operations will be performed with even inten- 

 sity. For this reason the stitches will be absolutely regular, and the 

 regularity itself will produce an esthetic effect. The same is true in 

 the case of woodwork, where the use of the ax or of the adz in the 

 hands of the expert workman will be so automatic that perfectly 

 regular lines and surfaces will be produced. This virtuosity in the 

 handling of tools and of materials is the very essence of artistic skill; 

 and we may safely say that in many cases the esthetic effect of the 

 manufactured objects is not due to a primary intention on the part 

 of the manufacturer, but is a secondary product of the possession of 

 masterly skill. 



While this skill may produce regularity of outline, it does not 

 necessarily result in designs. As soon, however, as the workman 

 begins to play with his technique — an occupation that is enjoyed by 

 every virtuoso — then the opportunity is given for the origin of design. 

 The potter who in turning her pot gives it regular impressions with the 



[18] 



