Origin and Development of Form and Ornament in Ceramic Art.: Fourth Annual Report of the Bureau of Ethnology to the Secretary of the Smithsonian Institution, 1882-1883, Government Printing Office, Washington, 1886, pages 437-466. — John Shaqi
Origin and Development of Form and Ornament in Ceramic Art.: Fourth Annual Report of the Bureau of Ethnology to the Secretary of the Smithsonian Institution, 1882-1883, Government Printing Office, Washington, 1886, pages 437-466.Holmes, William Henry
History
Origin and Development of Form and Ornament in Ceramic Art.: Fourth Annual Report of the Bureau of Ethnology to the Secretary of the Smithsonian Institution, 1882-1883, Government Printing Office, Washington, 1886, pages 437-466.
Holmes, William Henry
Decoration and ornament -- History; Indian art -- North America; Pottery -- History
With the ancient Pueblo peoples rectilinear forms of meander patterns
were very much in favor and many earthen vessels are found in which
bands of beautiful angular geometric figures occupy the peripheral
zone, Fig. 480 _a_, but when the artist takes up a mug having a row of
hemispherical nodes about the body, _b_, he finds it very difficult to
apply his favorite forms and is almost compelled to run spiral curves
about the nodes in order to secure a neat adjustment.
[Illustration: FIG. 480.--Variations in a motive through the influence
of form.]
_Through methods of realisation_.--It will readily be seen that the
forms assumed by a motive depend greatly upon the character of the
mechanical devices employed. In the potter's art devices for holding and
turning the vessel under manipulation produce peculiar results.
In applying a given idea to clay much depends upon the method of
executing it. It will take widely differing forms when executed by
incising, by modeling, by painting, and by stamping.
Intimately associated with methods of execution are peculiarities of
construction, the two agencies working together in the processes of
modification and development of ornament.
I have previously shown how our favorite ornament, the scroll, in its
disconnected form may have originated in the copying of natural forms or
through the manipulation of coils of clay. I present here an example of
its possible origin through the modification of forms derived from
constructional features of basketry. An ornament known as the guilloche
is found in many countries. The combination of lines resembles that of
twisted or platted fillets of wood, cane, or rushes, as may be seen at a
glance, Fig. 481 _a_. An incised ornament of this character, possibly
derived from basketry by copying the twisted fillets or their
impressions in the clay, is very common on the pottery of the mounds of
the Mississippi Valley, and its variants form a most interesting study.
In applying this to a vessel the careless artist does not properly
connect the ends of the lines which pass beneath the intersecting
fillets, and the parts become disconnected, _b_. In many cases the ends
are turned in abruptly as seen in _c_, and only a slight further change
is necessary to lead to the result, _d_, the running scroll with
well-developed links. All of these steps may be observed in a single
group of vessels.
Public-domain text, read in full here on John Shaqi.
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