DOI Page / Citation link:
https://doi.org/10.11588/diglit.42067#0054
38
The formal element in art
Other figures resulting from rotation, that is from a decorative pattern
applied rhythmically in the same direction, as for instance the swastika
and S shaped figures occupying
the center of a decorative field,
present the same type of inverted
symmetry. The same treatment
is found in the art of ancient
Scandinavia (fig. 32).
A curious development of this
decorative device is applied in
the art of ancient Peru. On
many fabrics we find patterns
consisting of a diagonal arrange-
ment of squares or rectangles.
In each diagonal the same de-
sign is repeated, while the next
diagonal has another type. In
each diagonal line the design is
shown in varying positions. If
the one faces the right, the next
faces the left. At the same time
there is an alternation of colors,
so that even when the form is the
same, the tints and the color values
will not be the same. A charac-
teristic specimen of this type will
be described later on (p. 47).
The plan of one of these de-
signs is illustrated in fig. 33.1
There are eight rectangular fields with two designs (1 and 2); those right
and left of the middle line and those above and below the horizontal
middle line are symmetrical in regard to form. In color, 1 corre-
sponds to lb and la to 1 c; also 2 corresponds in color to 2b and
1 Walter Lehmann, Kunstgeschichte des alten Peru, Berlin 1924, Plates 3 and 4.
Fig. 32. Bronze ornament, Sweden,
7the Century A. D.
la
2a
2c
1 c
lb
2b
Fig. 33. Design from Peruvian textile.
The formal element in art
Other figures resulting from rotation, that is from a decorative pattern
applied rhythmically in the same direction, as for instance the swastika
and S shaped figures occupying
the center of a decorative field,
present the same type of inverted
symmetry. The same treatment
is found in the art of ancient
Scandinavia (fig. 32).
A curious development of this
decorative device is applied in
the art of ancient Peru. On
many fabrics we find patterns
consisting of a diagonal arrange-
ment of squares or rectangles.
In each diagonal the same de-
sign is repeated, while the next
diagonal has another type. In
each diagonal line the design is
shown in varying positions. If
the one faces the right, the next
faces the left. At the same time
there is an alternation of colors,
so that even when the form is the
same, the tints and the color values
will not be the same. A charac-
teristic specimen of this type will
be described later on (p. 47).
The plan of one of these de-
signs is illustrated in fig. 33.1
There are eight rectangular fields with two designs (1 and 2); those right
and left of the middle line and those above and below the horizontal
middle line are symmetrical in regard to form. In color, 1 corre-
sponds to lb and la to 1 c; also 2 corresponds in color to 2b and
1 Walter Lehmann, Kunstgeschichte des alten Peru, Berlin 1924, Plates 3 and 4.
Fig. 32. Bronze ornament, Sweden,
7the Century A. D.
la
2a
2c
1 c
lb
2b
Fig. 33. Design from Peruvian textile.