DOI Page / Citation link:
https://doi.org/10.11588/diglit.42067#0160
136
Symbolism
the form of a 3. In Z and m the whole curve is made in one con-
tinuous line which has led to the doubling of the middle horizontal
in the form of a loop. In n the three horizontals are treated quite
differently; the long S shaped figure starting above on the left being
substituted for the lines attached to the lowest horizontal. A similar
principle, but beginning on the opposite side, is applied in o, in which
specimen the three horizontals have taken the form of a spiral
ending below in an almost vertical spur. In p we recognize a form
in which the S shaped curve is made separately; in the middle an
additional horizontal line is added and furthermore, the lowest part
of the S shaped curve is connected with the lower horizontal. The
form q is reversed and by attaching the S shaped curve to the center
of the spiral, a divergent form is developed.
I believe that many of the highly irregular forms that occur in
painted pottery must be explained in the same way. Another instance
of this kind is represented by the so-called alligator ware of the
Chiriqui (fig. 129) on which W. H. Holmes based his arguments of
gradual degeneration of realistic forms into conventional forms.
Although the pot itself is well made, the painting is almost always
slovenly; evidently the result of mass production. The most char-
acteristic trait of decoration of this ware is line and dot work. All
the designs are characterized by the use of black and red lines in-
terspersed with dots. The geometrical designs, as well as the animal
forms are crudely executed. Professor Holmes has called attention
to the fact that the dots are used to indicate the scales of the alli-
gators, but this fact does not prove that all the dots are derived from
alligator scales. Forms like those shown in fig. 129 to the right above
may well be understood as attempts in general decoration in black
and red lines and dots, badly executed. This seems more probable
since the dotted triangle has a much wider distribution than the
alligator motives. A representation of the alligator might then be
explained as executed in accordance with the technique applied to
geometrical motives. Owing to slovenly execution the animal form
may degenerate according to the motor habits of the individual artist.
Symbolism
the form of a 3. In Z and m the whole curve is made in one con-
tinuous line which has led to the doubling of the middle horizontal
in the form of a loop. In n the three horizontals are treated quite
differently; the long S shaped figure starting above on the left being
substituted for the lines attached to the lowest horizontal. A similar
principle, but beginning on the opposite side, is applied in o, in which
specimen the three horizontals have taken the form of a spiral
ending below in an almost vertical spur. In p we recognize a form
in which the S shaped curve is made separately; in the middle an
additional horizontal line is added and furthermore, the lowest part
of the S shaped curve is connected with the lower horizontal. The
form q is reversed and by attaching the S shaped curve to the center
of the spiral, a divergent form is developed.
I believe that many of the highly irregular forms that occur in
painted pottery must be explained in the same way. Another instance
of this kind is represented by the so-called alligator ware of the
Chiriqui (fig. 129) on which W. H. Holmes based his arguments of
gradual degeneration of realistic forms into conventional forms.
Although the pot itself is well made, the painting is almost always
slovenly; evidently the result of mass production. The most char-
acteristic trait of decoration of this ware is line and dot work. All
the designs are characterized by the use of black and red lines in-
terspersed with dots. The geometrical designs, as well as the animal
forms are crudely executed. Professor Holmes has called attention
to the fact that the dots are used to indicate the scales of the alli-
gators, but this fact does not prove that all the dots are derived from
alligator scales. Forms like those shown in fig. 129 to the right above
may well be understood as attempts in general decoration in black
and red lines and dots, badly executed. This seems more probable
since the dotted triangle has a much wider distribution than the
alligator motives. A representation of the alligator might then be
explained as executed in accordance with the technique applied to
geometrical motives. Owing to slovenly execution the animal form
may degenerate according to the motor habits of the individual artist.