DOI Page / Citation link:
https://doi.org/10.11588/diglit.42067#0192
168
Style
elaborate terraced figure repeated in literally hundreds of specimens
of water jars, and always without the slightest variation either in the
figure itself or in its application to the jar. It is always used in threes
and with the second of
the two rim designs. There
are other types also, any
one of which is known to
and can be described by
any well informed Zuni
potter. Although the in-
vention of new designs
is considered eminently
desirable among them,
the actual number of Zuni
pots that do not belong to
one or the other of these
recognized types is ex-
ceedingly small.”
As another example I
choose the style of em-
broidery on Haussa shirts
(fig. 143). Felix von
Luschan has called atten-
tion to the rigidity of the
general pattern.1 A narrow
elongated field in the left
hand upper corner of the
design surrounded on the left by a thin white line, on the right
by a white field with long pointed triangles, limits the hole through
which the head passes. The white disk to the left of it rests, there-
fore on the right side of the chest, the upper disk on the right
shoulder blade. The line dividing the design into an upper and lower
Fig. 143. Haussa embroideries.
1 Felix von Luschan, Beitrage zur Volkerkunde, p. 50. Patterns of the same
kind have been figured by Leo Frobenius in “Das sterbende Afrika,” Pis. 58—60.
Style
elaborate terraced figure repeated in literally hundreds of specimens
of water jars, and always without the slightest variation either in the
figure itself or in its application to the jar. It is always used in threes
and with the second of
the two rim designs. There
are other types also, any
one of which is known to
and can be described by
any well informed Zuni
potter. Although the in-
vention of new designs
is considered eminently
desirable among them,
the actual number of Zuni
pots that do not belong to
one or the other of these
recognized types is ex-
ceedingly small.”
As another example I
choose the style of em-
broidery on Haussa shirts
(fig. 143). Felix von
Luschan has called atten-
tion to the rigidity of the
general pattern.1 A narrow
elongated field in the left
hand upper corner of the
design surrounded on the left by a thin white line, on the right
by a white field with long pointed triangles, limits the hole through
which the head passes. The white disk to the left of it rests, there-
fore on the right side of the chest, the upper disk on the right
shoulder blade. The line dividing the design into an upper and lower
Fig. 143. Haussa embroideries.
1 Felix von Luschan, Beitrage zur Volkerkunde, p. 50. Patterns of the same
kind have been figured by Leo Frobenius in “Das sterbende Afrika,” Pis. 58—60.