DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.42067#0157
Symbolism
133
of handling the brush, with the result that his individuality may
easily be recognized.1 I select a few examples here in order to show
the effect of slurring upon design. It is essential to note that on
the same specimen the lines are always drawn in the same way;
that is, that the hand of the painter followed very definite motor habits.
One of the simplest designs is instructive in regard to the effect
of slurring and the development of individual style.
One of the decorative elements consists of a series
of S shaped, interlocking figures (fig. 124). It will
be noticed that, in fig. 124 b the lines which seem
to have developed from the S shaped forms, are
degenerating into simple curves, while in c the lines
are drawn more carefully. Fig. 124 d represents the
decoration from the outer side of a vessel and here
the S shaped curves have been carefully connected
and are developing into a new pattern.
Another' simple pattern which illustrates the effect
of rapid production consists of a regular repetition
of a curve and two vertical strokes. It seems likely __ _
that the form is derived from a circle followed by c
vertical strokes such as are also found in the finely
painted pottery of Texcoco (Fig. 125 a). The cor-
responding Culhuacan specimens are shown in
fig. 125 b, c. While in a few cases the curve is
a more or less carefully drawn circle (b, c), it has
generally the shape of a spiral. One of the most striking charac-
»))o))W
Fig. 125. Designs
from pottery ves-
sels, Culhuacan.
teristics of the development of this pattern is the tendency to change
the direction of the vertical strokes to an inclined position (fig. 126).
According to the tendency of the painter the strokes incline either
strongly from right above to left below (a, b inside, c, d outside),
while in e and / the strokes run from the left to the right. In
the rapid creation of these forms the vertical lines are transformed
1 See, Franz Boas y
Mexico 1912.
Manuel Gamio, Album de collecciones arqueologicas,
133
of handling the brush, with the result that his individuality may
easily be recognized.1 I select a few examples here in order to show
the effect of slurring upon design. It is essential to note that on
the same specimen the lines are always drawn in the same way;
that is, that the hand of the painter followed very definite motor habits.
One of the simplest designs is instructive in regard to the effect
of slurring and the development of individual style.
One of the decorative elements consists of a series
of S shaped, interlocking figures (fig. 124). It will
be noticed that, in fig. 124 b the lines which seem
to have developed from the S shaped forms, are
degenerating into simple curves, while in c the lines
are drawn more carefully. Fig. 124 d represents the
decoration from the outer side of a vessel and here
the S shaped curves have been carefully connected
and are developing into a new pattern.
Another' simple pattern which illustrates the effect
of rapid production consists of a regular repetition
of a curve and two vertical strokes. It seems likely __ _
that the form is derived from a circle followed by c
vertical strokes such as are also found in the finely
painted pottery of Texcoco (Fig. 125 a). The cor-
responding Culhuacan specimens are shown in
fig. 125 b, c. While in a few cases the curve is
a more or less carefully drawn circle (b, c), it has
generally the shape of a spiral. One of the most striking charac-
»))o))W
Fig. 125. Designs
from pottery ves-
sels, Culhuacan.
teristics of the development of this pattern is the tendency to change
the direction of the vertical strokes to an inclined position (fig. 126).
According to the tendency of the painter the strokes incline either
strongly from right above to left below (a, b inside, c, d outside),
while in e and / the strokes run from the left to the right. In
the rapid creation of these forms the vertical lines are transformed
1 See, Franz Boas y
Mexico 1912.
Manuel Gamio, Album de collecciones arqueologicas,