DOI Page / Citation link:
https://doi.org/10.11588/diglit.42067#0200
176
Style
have been determinants in forming the art of primitive people also.
There is probably not a single region in existence in which the art
style may be understood entirely as an inner growth and an ex-
pression of cultural life of a single tribe. Wherever a sufficient amount
of material is available, we can trace the influence of neighboring
tribes upon one another, often extending over vast distances. Dis-
semination of cultural traits that has made the social structures, the
f tribes what they are today, has also
been a most important element in
shaping the forms of their art. The
local distribution of technical processes,
of form elements, and of systems of
arrangement contribute to the character
of each art style. In another place
we have discussed the distribution of
pottery decorated by means of applied
pellets and fillets (see p. 138), and it
appeared that the technical process
covers a wide continuous area and that
it is applied in different ways by each
cultural group. We have also seen that
the characteristic triangular design with
spur lines along the base, is widely dis-
seminated over the North American continent. We found that this form
is common to the Pueblos, the Indians of the northwestern plateaus
and of the plains, and that the fundamental pattern may be recogniz-
ed in New England and Labrador. Patterns composed of lines,
triangles and rectangles are characteristic of the art of the North
American Indian. Notwithstanding their simplicity, these forms are
practically confined to North America. Their strong individuality
proves that their present distribution must be due to mutual
influence among various North American cultures. We cannot
determine where the pattern originated but it is quite certain that
its present distribution is due to cultural contact; its occurrence is
ceremonials and the tales o
Fig. 151 a. Type of parfleche and
pouch painting, Arapaho.
enclosed rectangle, often with
Style
have been determinants in forming the art of primitive people also.
There is probably not a single region in existence in which the art
style may be understood entirely as an inner growth and an ex-
pression of cultural life of a single tribe. Wherever a sufficient amount
of material is available, we can trace the influence of neighboring
tribes upon one another, often extending over vast distances. Dis-
semination of cultural traits that has made the social structures, the
f tribes what they are today, has also
been a most important element in
shaping the forms of their art. The
local distribution of technical processes,
of form elements, and of systems of
arrangement contribute to the character
of each art style. In another place
we have discussed the distribution of
pottery decorated by means of applied
pellets and fillets (see p. 138), and it
appeared that the technical process
covers a wide continuous area and that
it is applied in different ways by each
cultural group. We have also seen that
the characteristic triangular design with
spur lines along the base, is widely dis-
seminated over the North American continent. We found that this form
is common to the Pueblos, the Indians of the northwestern plateaus
and of the plains, and that the fundamental pattern may be recogniz-
ed in New England and Labrador. Patterns composed of lines,
triangles and rectangles are characteristic of the art of the North
American Indian. Notwithstanding their simplicity, these forms are
practically confined to North America. Their strong individuality
proves that their present distribution must be due to mutual
influence among various North American cultures. We cannot
determine where the pattern originated but it is quite certain that
its present distribution is due to cultural contact; its occurrence is
ceremonials and the tales o
Fig. 151 a. Type of parfleche and
pouch painting, Arapaho.
enclosed rectangle, often with