“Tyler Cowen”:http://volokh.com/2003_08_10_volokh_archive.html#106060688626674065 has a nice, short piece on art and Western civilization, which gently takes a forthcoming Charles Murray book to task. The Murray book, by Cowen’s account, concludes that Western civilization has an overwhelming advantage over its non Western equivalents in music and the arts. As Cowen says, it’s hard to sustain this argument with great confidence, because the surviving evidence is grossly skewed. Since many forms of non-Western art haven’t survived, or went unrecorded until very recently, we can’t say with any degree of certainty that, say, John Dowland was any better than his Gabonese equivalents.
But there’s a second issue, which is very nearly as important – a version of what anthropologists refer to as Galton’s problem. The quick and dirty version of Galton’s argument is that there’s something very iffy about the assumption that cultures are self-referential, coherent wholes, which are absolutely isolated from each other. Western art didn’t evolve in isolation from its non-Western equivalents : at crucial points in its history, encounters with non-Western art drove it in new directions. Peter Conrad’s definitive study of 20th century art, _Modern Times, Modern Places_ has an entire chapter on how African art deeply influenced various modern greats. Conrad claims, and I have no reason to doubt him, that it’s simply impossible to understand Picasso without taking account of the influence of African mask art from Congo and the Gabon.