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ou may have encountered the term Morphology in connection with growth of biological
or botanical forms, or with regard to Darwin’s evolutionary thesis: organisms
selectively develop in order to adapt to their environment. How, you might ask, would
this maturational principle apply to a culture’s artistic language or to what art
historians call Style?
This brief work attempts to scrutinize matters such as What artistic elements predictably vary as a culture (or an artist, in some instances) matures? How are these changes expressed? What role do the senses play in that evolution? Are value judgments useful in understanding phases in the development of Style?
Is it possible that something called “ego-
Searching for characteristics of “adolescence” (primitivism) or “maturity” (classicism) in artistic output of a culture can be equally as fruitful as recognition of signs of “aging or ripening” (baroque consciousness) in later stages. To validate this metaphor of human maturation as a template of artistic development for whole cultures, it is of course necessary to compare cognate examples of artistic expression from many times and places in human experience.
The purpose of this study is to consider the elements of artistic language by which we can gauge the changing focus of successive generations of artisans, the aspects of creative expression which typically evolve over time in a seemingly-