Universitätsbibliothek HeidelbergUniversitätsbibliothek Heidelberg
Overview
Facsimile
0.5
1 cm
facsimile
Scroll
OCR fulltext
Style

153

origin of all important decorative patterns to this source. I presume
this is an exaggeration, because other conditions may as well lead
to the discovery of designs. I say advisedly discovery, not invention,
for I believe, with those investigators who would derive all patterns
from weaving, that intentional invention is less important than the
discovery of possibilities which come to be observed as an effect
of the play, particularly the rhythmic play with technical processes.
I presume that the occurrence of a number of simple ornamental
elements may be explained as technically determined. We have
seen before that the straight line and the regular curve such as circle
and spiral presuppose an accurate technique, that they are too rare
in nature to be considered as representative in character. The
straight line may be the result of cutting, folding or splitting some
kinds of wood, of the use of reeds or similar materials, of stretching
fibres and of many other processes. Circles may originate by the
regular turning of coiled basketry and of coiled pottery: spirals by
the laying of coarse coils. Weaving in coarse material leads to
rectangular figures, to checker patterns, steplike diagonals and to
many other complicated forms. Tying with cord produces straight
lines intersecting at various angles and also parallel, circular and
spiral forms. We may confidently claim independent origin in
separate areas for the triangular design in basketry (fig. 104 a, b,
p. 109); for simple radial forms in coiled basketry placques; for
the swastika cross, the meander and for many other simple forms,
like the spirals of prehistoric Bohemia; of eastern Siberia; of
Melanesia and of ancient New Mexico; in the sameness of design
elements from Africa and America; in the occurrence of the
circle and central dot in prehistoric Europe and among the
Eskimo. The principle of symmetry, of balance, of rhythmic repeti-
tion and of emphasis laid upon prominent points or lines apply to
all kinds of technique and many lead to parallel developments.
We have seen that in some cases, simple elements which develop
independently, possess stylistic pecularities that differentiate one locality
from another. But even if the forms are identical, the arrangement
 
Annotationen