DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.42067#0127
Symbolism
105
In bead embroidery we find frequently a central design in the
Form of a diamond, from the acute angles of which, extend straight
lines. To the ends of these triangular designs or other small forms
are attached. In fig. 152 (p. 178) some of these designs are shown. The
first one is taken from a pouch (/); the central diamond represents a
person, the triangular designs at the ends of the lines, buffalo hoofs.
A similar design (k) from a moccasin represents the navel and
arrows; the background is snow. In a third example (q) the cen-
tral diamond represents a turtle, the lines its claws and the small
patterns at the ends of these lines, eggs.
Another example of the variation of explanation of the same
design is found in designs from New Ireland1 (fig. 99). The chevron
represents the leaf of a palm, an armring, a worm, the foot of a
bird, tracks of a crustacean, or fish bones.
The great variety of these interpretations of the same figure and
of the many forms by means of which the same ideas find expres-
sion, show clearly that the terms by which designs are described
must not be conceived simply as names, but that rather a certain
association exists between the general artistic pattern and a number
of ideas which are selected according to tribal usage, and also in
accordance with the momentary interest of the person who gives
the explanation.
Often the range of ideas associated with forms follows a fairly
definite pattern in each tribe. We may compare this condition with
attitudes which we assume in regard to forms that may have
varying types of symbolic connotation. To a Canadian, a British
flag surmounted by maple leaves would be closely associated with
patriotic feeling, and in this connection the maple leaf has a definite
significance; in other combinations it may appear with quite a
different meaning. A red maple leaf may be symbolic of the fall
of the year.
1 Stephan, Neu-Mecklenburg, p. 114, fig. 120. The same figure is found in the
same author’s “Sudseekunst“, p. 15, fig. 19, with somewhat different explanations,
presumably due to an oversight.
105
In bead embroidery we find frequently a central design in the
Form of a diamond, from the acute angles of which, extend straight
lines. To the ends of these triangular designs or other small forms
are attached. In fig. 152 (p. 178) some of these designs are shown. The
first one is taken from a pouch (/); the central diamond represents a
person, the triangular designs at the ends of the lines, buffalo hoofs.
A similar design (k) from a moccasin represents the navel and
arrows; the background is snow. In a third example (q) the cen-
tral diamond represents a turtle, the lines its claws and the small
patterns at the ends of these lines, eggs.
Another example of the variation of explanation of the same
design is found in designs from New Ireland1 (fig. 99). The chevron
represents the leaf of a palm, an armring, a worm, the foot of a
bird, tracks of a crustacean, or fish bones.
The great variety of these interpretations of the same figure and
of the many forms by means of which the same ideas find expres-
sion, show clearly that the terms by which designs are described
must not be conceived simply as names, but that rather a certain
association exists between the general artistic pattern and a number
of ideas which are selected according to tribal usage, and also in
accordance with the momentary interest of the person who gives
the explanation.
Often the range of ideas associated with forms follows a fairly
definite pattern in each tribe. We may compare this condition with
attitudes which we assume in regard to forms that may have
varying types of symbolic connotation. To a Canadian, a British
flag surmounted by maple leaves would be closely associated with
patriotic feeling, and in this connection the maple leaf has a definite
significance; in other combinations it may appear with quite a
different meaning. A red maple leaf may be symbolic of the fall
of the year.
1 Stephan, Neu-Mecklenburg, p. 114, fig. 120. The same figure is found in the
same author’s “Sudseekunst“, p. 15, fig. 19, with somewhat different explanations,
presumably due to an oversight.