DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.42067#0165
Symbolism
141
development of individual characteristics that can best be compared
with handwriting. Pronounced mannerisms permit us to recognize
the hand of the artisan. It is only when an unusually careful and
ingenious person operates with this traditional material that new forms
develop, analogous to those described by Balfour. It will readily be
seen that these conditions are not often realized in primitive society.
1 believe another cause is more potent in bringing about a modi-
fication of design. Ornamental patterns must be adjusted to the
decorative field to which they are applied. It is not often that the
artist is satisfied with representing part of his subject and cutting it
Fig. 130. Chinese embroidery representing bats.
off where the decorative field ends. He will much rather distort
and adjust the parts in such a way that they all fit in the field that
he has at his disposal. When a bird is represented with outspread
wings, which would occupy approximately a square field, and the
space to be decorated is long and narrow, the artist may twist
body and tail about, and draw out the wings and thus squeeze
the design into the available space. Henry Balfour1 gives as an
instance the adjustment of Chinese figures of bats to an ornamental
band (fig. 130).
The northwest coast Indians, who always take the greatest liberties
with the outer forms of animals, do not hesitate to distort them in
a way that allows the artist to adjust the animal to the decorative
field. Their method will be discussed in greater detail at another
place (see pp. 183 et seq.).
On shell discs from the mounds of Tennessee the rattlesnake is so
represented (fig 131). The head of the rattlesnake with upturned upper
1 The Evolution of Art, 1893, p. 50.
141
development of individual characteristics that can best be compared
with handwriting. Pronounced mannerisms permit us to recognize
the hand of the artisan. It is only when an unusually careful and
ingenious person operates with this traditional material that new forms
develop, analogous to those described by Balfour. It will readily be
seen that these conditions are not often realized in primitive society.
1 believe another cause is more potent in bringing about a modi-
fication of design. Ornamental patterns must be adjusted to the
decorative field to which they are applied. It is not often that the
artist is satisfied with representing part of his subject and cutting it
Fig. 130. Chinese embroidery representing bats.
off where the decorative field ends. He will much rather distort
and adjust the parts in such a way that they all fit in the field that
he has at his disposal. When a bird is represented with outspread
wings, which would occupy approximately a square field, and the
space to be decorated is long and narrow, the artist may twist
body and tail about, and draw out the wings and thus squeeze
the design into the available space. Henry Balfour1 gives as an
instance the adjustment of Chinese figures of bats to an ornamental
band (fig. 130).
The northwest coast Indians, who always take the greatest liberties
with the outer forms of animals, do not hesitate to distort them in
a way that allows the artist to adjust the animal to the decorative
field. Their method will be discussed in greater detail at another
place (see pp. 183 et seq.).
On shell discs from the mounds of Tennessee the rattlesnake is so
represented (fig 131). The head of the rattlesnake with upturned upper
1 The Evolution of Art, 1893, p. 50.