International studio (35.1908)

The


KLIKITAT IMBRICATED NATIONAL MUSEUM
BASKET COLLECTION

from the flat placque to the finely formed jar, and
with few exceptions they are symmetrical and
graceful. The early ones—those woven prior to
contact with the white man—are simple in form,
strong and serviceable, whereas the later ones, in
which foreign influence is manifested, are com-
plex, irrational and poorly adapted to use. Tech-
nically there seems to be no choice—the primitive
basket-makers, both ancient and modern, proving
themselves invariably master craftsmen. Appar-
ently the standard imposed has been perfection.
It is in the matter of ornamentation, however,
that the deepest interest attaches to these baskets.
It has been said by an eminent authority that all
the important conventional designs which charac-
terize the art of the Old World are found in America,
and it is true that the majority will be seen to have
been employed in the decoration of this basketry.
In fact, the history of the evolution of ornament is
written here and in such a manner that all who run
may read.
The desire for embellishment was undoubtedly
intuitive—an aesthetic craving for beauty dimly
defined—motives chosen were familiar forms with
which there was certain association of ideas. Upon
these forms technique imposed restrictions, weaving
requiring the use of straight lines and engendering
formal expression. The tendency is to conven-
tionalize, to reduce similar elements to the same
unit, to evolve a pattern mechanically. Thus the
strictures of medium lead to uniformity in result
and prevent the manifestation of distinct individu-

Scrip
ality. Those weavers who use the same method,
it is found, produce similar patterns, and those
whose habitats are widely separated have appar-
ently invented like figures. In this way the me-
ander, the chevron, the fret and other forms
familiar to all and used in decoration by every
known people have, it is thought, been evolved or
derived. Possibly the impulse for decoration is
originally an unformed desire which finds expres-
sion as the fabric is wrought, and that later the
idea dominates and symbolical meaning attaches
itself to the figures thus formed, but it is not prob-
able. Whatever the cause, however, the result is
the same—universally pleasing—the motives at-
tractive and their use skilful. Charming effects
are produced in all-over patterns by the use of two
tones or colors only, in every variation of the
checkerboard design. Where more elements are
used, as in the twined and sewed baskets, greater
elaboration is seen and fine borders as well as body
designs result. All manner of forms are used;
those derived from natural elements, such as light-
ning, clouds, rivers and mountains; from animal
life, for example, fish-tail, wolf’s eye, bears’s foot,
rattlesnake, and grasshopper leg; from occupa-
tions, arrow head and so forth; and from religious
ceremonials. In the design of some baskets
flames are used as a motive; in others, eagles, and
still others, men and beasts. The purely geomet-
ric patterns are the most effective and the most
frequently employed. In both the coiled and
woven baskets the same patterns are used, but their
interpretation is naturally altered by the variance
in technique. Not only are these baskets orna-
mented, moreover, by the use of materials of dif-
ferent colors, but by overlaying the weft and warp
with thin strips of materials before weaving, by
embroidering on the texture during the process of
manufacture, by covering the texture with plaiting,
like shingles on a roof, called “imbrication,” and
by adding feathers, shells, beads and other sup-
posedly ornamental objects. It must be said, how-
ever, that those in which the design is wrought
with the fabric are the most artistic and attractive.
The regularity with which these designs are car-
ried out in almost every instance is remarkable, and
their decorative charm cannot be overestimated.
Exquisite, indeed, is much of the weaving; intrin-
sically beautiful the objects woven. There is no
clumsiness, no experimenting, no irregularity, but
perfect accuracy. The spacing of the surface orna-
mented is notably good and the use of strong color
equally clever. The designs may or may not have
symbolic meaning, but they unquestionably possess

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