DOI Page / Citation link:
https://doi.org/10.11588/diglit.42067#0066
48
The formal element in art
1 234 1 2 3a 4 1 6 5a 4 1
34123416541234
23412341654123
41234165412341
34123416541234
12341 6& 54123412
41234165412341
2 3 4 1 6 5C 4 1 2b 3C 4 1 2 3
1234165412341
In the actual arrangement there are apparently three mistakes. In
the first horizontal line, the two figures marked with the note a
have been exchanged. In line six and line eight the two figures
marked with the note b have been transposed and in line eight the
two figures with the note c have been exchanged. It will be seen
that when these transpositions have been effected the diagonal lines
running from the first row down to the left, follow a regular alter-
nation of types. Type 6 is clearly related to 2, and type 5 to 3.
Since in quite a number of woven garments regular diagonal se-
quences may be observed, it seems likely that these were particular
determinants of the style. There are in all, six different types, but
if we imagine the lines continued, it would be found that the same
order will occur after twelve lines. The embroidery does not repre-
sent a regular six unit design but is rather a four unit design of
two distinct types—1 2 3 4 and 1 6 5 4,—in which the former type
is repeated twice and the latter once.
Similar observations may be made on the fabrics illustrated in
Reiss and Stubel’s “Necropolis of Ancon”. I have selected a few
specimens that illustrate the rhythmic repetition of color. Figure 40 1
represents a band with red background on which are animal figures
in the following sequence:
purple, yellow, green, yellow, white, yellow, green, yellow
1 Reiss and Stiibel, Necropolis of Ancon, p. 67 b, fig. 3.
The formal element in art
1 234 1 2 3a 4 1 6 5a 4 1
34123416541234
23412341654123
41234165412341
34123416541234
12341 6& 54123412
41234165412341
2 3 4 1 6 5C 4 1 2b 3C 4 1 2 3
1234165412341
In the actual arrangement there are apparently three mistakes. In
the first horizontal line, the two figures marked with the note a
have been exchanged. In line six and line eight the two figures
marked with the note b have been transposed and in line eight the
two figures with the note c have been exchanged. It will be seen
that when these transpositions have been effected the diagonal lines
running from the first row down to the left, follow a regular alter-
nation of types. Type 6 is clearly related to 2, and type 5 to 3.
Since in quite a number of woven garments regular diagonal se-
quences may be observed, it seems likely that these were particular
determinants of the style. There are in all, six different types, but
if we imagine the lines continued, it would be found that the same
order will occur after twelve lines. The embroidery does not repre-
sent a regular six unit design but is rather a four unit design of
two distinct types—1 2 3 4 and 1 6 5 4,—in which the former type
is repeated twice and the latter once.
Similar observations may be made on the fabrics illustrated in
Reiss and Stubel’s “Necropolis of Ancon”. I have selected a few
specimens that illustrate the rhythmic repetition of color. Figure 40 1
represents a band with red background on which are animal figures
in the following sequence:
purple, yellow, green, yellow, white, yellow, green, yellow
1 Reiss and Stiibel, Necropolis of Ancon, p. 67 b, fig. 3.