In order to dissect the true definition of the history of the Western idea of art, Dissanayake provides her own term, and it is a rather heavily weighted one – paleoanthropsychobiological. Within this term, reside four separate factors contributing to the Western idea. First, paleo makes reference to the idea that art dates as far back in history as when the first human species came about, and this may have been pre-Paleolithic age. Anthro suggests that all human species were involved in the evolution of this idea of art. Psycho addresses the idea that art is both driven by and a cause of emotion. Lastly, biological is included to address the idea that art is a characteristic that is innate within all humans.
Unique to the human species is a wide range of qualities and characteristics, and it is within the complexity of these intertwined traits that humans are able to make things “special.” It is not an act of claiming something as special, but rather it is directly setting out to transform an ordinary act or object into something special. To do this, humans “exert control” and “take pains” to ensure investments are completed to the best of their ability (p.9). When humans take such care in performing a task or creating something, the outcome is usually considered artistic. In terms or art, like creating a hand tool or tooth decoration, artistic quality is reached when great efforts, and possibly time, are dedicated to the creation something. In terms of survival, Dissanayake remarks on hand tools and ensuring “they worked by making them and the activities that were concerned with them special” (p.9). One of her strongest examples is of hunting and the careful considerations made before hunt – fasting, participating in rituals, bathing, and wearing the proper attire.
In her thorough examination of the history of the idea of Western art, Dissanayake provides insight on many theories and movements, including that of the 18th century’s modernity movement, the Romantic Rebellion, and Modernism. Modernity encompasses several theories including secularization of society, a growth of scientific thinking, encouraged social behavior and use of reason, and great political movements. One of the greatest aspects of change was the “weakening of the nobility and clergy” that accompanied a shift from kin relationships to those “based on the exchange of money” (p.3)
During the period of the Romantic Rebellion, which followed the last mentioned theory, people voiced their dissent with the drastic changes that society had recently undergone. An increase in individual freedom led to perished ties to work and other people, and an increase in intellectual freedom resulted in uncertainty. Dissanayake writes, “to artists, as to everyone, the new order brought both liberation and insecurity, and a universal standard for art was evolving (p.3).
In contrast, the up-and-coming modernism movement of the 19th century proposed a necessary “‘disinterested’ attitude” for the appreciation of art (p.3). Rather than individuals connecting to the subject matter of the art piece, a universality of what was and was not art was supported. The purpose of art was to provide “heightened moments,” and these moments began to belong only to higher classes that were taught this standard of art.
Dissanayake, Ellen. (1991). What is art for? In K.C. Caroll (Ed.). Keynote addresses 1991 (NAEA Convention), (p. 15-26). Reston, VA: National Art Education Association.