DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.42067#0057
The formal element in art
41
rhythmic repetition of pattern. This is most beautifully illustrated
by the best examples of California basketry.
The virtuoso who varies the monotony of his movements and
enjoys his ability to perform a more complex action, produces at
the same time a more complex rhythm. This happens particularly
in weaving and related industries such as braiding and wrapping
with twine. Skipping of
strands,— that is twilling (see
fig. 17, p. 30) is the source
of many rhythmic forms and
twilling is undertaken by the
virtuoso who plays with his
technique and enjoys the
overcoming of increased diffi-
culties.
In many cases rhythmic Fig- 36. Necklace of Thompson Indians,
complexity is clearly the result
of careful planning. I have referred before to the rhythmical arrange-
ment on fringes of the Thompson Indians of British Columbia, (p, 29).
Another good example (fig. '36) is a double necklace in which
the rhythmic series is—-
black, red, yellow, green, blue, green,
both in the inner and outer lines while the connecting links have
the order black, red, yellow, green, red, blue.1
Dr. Reichard2 has discussed a number of other examples from
the same region which have similar characteristics. In one example
1 In this specimen (see American Anthropologist, N. S., Volume 24, 1922, p. 188),
the connecting links between the two strings have been misplaced, the inner string
of beads being shifted three units to the right, i. e. the central connecting link
is attached to the first yellow bead to the left of the red center; the others being
shifted correspondingly. They have been corrected here so as to bring out the
arrangement which was evidently planned.
2 American Anthropologist 1. c., pages 198—199.
41
rhythmic repetition of pattern. This is most beautifully illustrated
by the best examples of California basketry.
The virtuoso who varies the monotony of his movements and
enjoys his ability to perform a more complex action, produces at
the same time a more complex rhythm. This happens particularly
in weaving and related industries such as braiding and wrapping
with twine. Skipping of
strands,— that is twilling (see
fig. 17, p. 30) is the source
of many rhythmic forms and
twilling is undertaken by the
virtuoso who plays with his
technique and enjoys the
overcoming of increased diffi-
culties.
In many cases rhythmic Fig- 36. Necklace of Thompson Indians,
complexity is clearly the result
of careful planning. I have referred before to the rhythmical arrange-
ment on fringes of the Thompson Indians of British Columbia, (p, 29).
Another good example (fig. '36) is a double necklace in which
the rhythmic series is—-
black, red, yellow, green, blue, green,
both in the inner and outer lines while the connecting links have
the order black, red, yellow, green, red, blue.1
Dr. Reichard2 has discussed a number of other examples from
the same region which have similar characteristics. In one example
1 In this specimen (see American Anthropologist, N. S., Volume 24, 1922, p. 188),
the connecting links between the two strings have been misplaced, the inner string
of beads being shifted three units to the right, i. e. the central connecting link
is attached to the first yellow bead to the left of the red center; the others being
shifted correspondingly. They have been corrected here so as to bring out the
arrangement which was evidently planned.
2 American Anthropologist 1. c., pages 198—199.