03143cam a22003373u 4500 77834 UtSlPG 20260610134814.0 m cr n 260607r20261927utu|||||o|||||||||||||| d 29001921 UtSlPG en iso639-1 N Boas, Franz, 1858-1942 Primitive art Salt Lake City, UT : Project Gutenberg, 2026 1 online resource : multiple file formats text txt rdacontent computer c rdamedia online resource cr rdacarrier Release date is 2026-02-02 Aaron Adrignola, Linda Cantoni, A Marshall and the Online Distributed Proofreading Team at https://www.pgdp.net (This book was produced from images made available by the HathiTrust Digital Library.) "Primitive art" by Franz Boas is a scientific anthropological treatise written in the early 20th century. It examines the fundamental traits and development of the arts among so‑called primitive peoples, arguing that aesthetic creation rests on the universal mental capacities of humans and on historical, technical, and cultural conditions rather than on racial or evolutionary hierarchies. Emphasizing technique, form, symmetry, rhythm, and distribution, it analyzes how workmanship and meaning together shape graphic and plastic arts across diverse societies. The opening of the treatise sets out two guiding principles: mental processes are fundamentally the same across all peoples, and every cultural phenomenon, including art, is a historical growth. Boas critiques unilineal evolution and overreliance on diffusionist or correlation-based schemes (challenging, among others, Ratzelian extremes and later historical sequences), stresses constant cultural flux, and states his aim to identify dynamic conditions under which art styles arise. In the Introduction he argues that aesthetic pleasure is universal, that artistic value emerges when forms become technically controlled and standardized, and that art involves both pure form and culturally associated meanings; he also rebuts theories that reduce art solely to expression. He then demonstrates, with cases from California basketry, Northwest Coast woodwork, and Pueblo pottery, that technical virtuosity and regularity generate artistic form—showing how symmetry, rhythmic repetition, margins, borders, and field divisions arise from technique and bodily rhythms—illustrated by examples from Eskimo flintwork, Koryak embroidery, Peruvian textiles, Zambezi beadwork, and Mexican codices. The section closes by beginning a discussion of representative art, insisting that representation becomes art only with technical mastery and formal structure. (This is an automatically generated summary.) Originally published: Oslo: H. Aschehoug & Co., 1927 Art, Prehistoric Folk literature -- History and criticism https://hdl.handle.net/2027/gri.ark:/13960/s29kxnz21nc https://www.gutenberg.org/ebooks/77834 118554 118554