Origin and Development of Form and Ornament in Ceramic Art. | Page 4

peculiarities of
originals upon the ceramic art.
A nation having stone vessels, like those of California, on acquiring the
art of pottery would use the stone vessels as models, and such forms as
that given in Fig. 466 would arise, a being in stone and b in clay, the
former from California and the latter from Arizona.
Similar forms would just as readily come from gourds, baskets, or other
globular utensils.
Nations having wooden vessels would copy them in clay on acquiring
the art of pottery. This would give rise to a distinct group of forms, the
result primarily of the peculiarities of the woody structure. Thus in Fig.
467, a, we have a form of wooden vessel, a sort of winged trough that I
have frequently found copied in clay. The earthen vessel given in Fig.
467, b, was obtained from an ancient grave in Arkansas.
[Illustration: a, stone. b, clay. FIG. 466.--Form derived from a stone
pot.]
[Illustration: a, wood. b, clay. FIG. 467.--Form derived from a wooden
tray.]
[Illustration: a, Horn. b, Clay. FIG. 468.--Form derived from a horn
spoon.]
[Illustration: a, Bark. b, Clay. FIG. 469.--Form derived from a bark
vessel.]

The carapace of some species of turtles, and perhaps even the hard case
of the armadillo, could be utilized in a similar way. The shaping of a
knot of wood often gives rise to a dipper-shaped vessel, such as may be
found in use by many tribes, and is as likely an original for the dipper
form in clay as is the gourd or the conch shell; the familiar horn vessel
of the western tribes, Fig. 468, a, would have served equally well. The
specimen given in b is from Arkansas. As a rule, however, such vessels
cannot be traced to their originals, since by copying and recopying they
have varied from the parent form, tending always toward uniform
conventional shapes.
A vessel of rectangular outline might originate in wood or bark. In Fig.
469, a, we have a usual form of bark tray, which is possibly the
prototype of the square-rimmed earthen vessel given in b.
[Illustration: a, Wicker. b, Clay. FIG. 470.--Form originating in
basketry.]
[Illustration: a, Wicker. b, Clay. FIG. 471.--Form originating in
basketry.]
[Illustration: a, Net. b, Clay. FIG. 472.--Form originating in basketry.]
Basketry and other classes of woven vessels take a great variety of
forms and, being generally antecedent to the potter's art and constantly
present with it, have left an indelible impression upon ceramic forms.
This is traceable in the earthenware of nearly all nations. The clay
vessel is an intruder, and usurps the place and appropriates the dress of
its predecessor in wicker. The form illustrated in Fig. 470, a, is a
common one with the Pueblo peoples, and their earthen vessels often
resemble it very closely, as shown in b. Another variety is given in Fig.
471, a and b. These specimens are from southwestern Utah. Fig. 472, b,
illustrates a form quite common in the Southern States, a section in
which pouch-like nets and baskets, a, were formerly in use and in
which the pots were often modeled.
+INVENTION OF FORM.+

In the early stages of art, forms are rarely invented outright and I shall
not stop to consider the subject here.

+MODIFICATION OF FORM.+
The acquisition of new materials, the development of new uses, the
employment of new processes of manufacture, and many other
agencies lead to the multiplication of forms through modification. The
processes by which highly differentiated forms are reached are
interesting throughout and repay the closest study.
A preliminary classification of the various causes that lead to
modification is given in the following synopsis:
/ / /To assume form. | |Incapacity of material--\To retain form. |
|Incapacity of the artisan. | |Changes in method of manufacture. |By
adventition--|Changes in environment. |Changes of use. Modification of
form--| |Lack of use. | \Influence of new or exotic forms, etc. | | /To
enhance usefulness. |By intention--| | \To please fancy.--/For the
beautiful. \ \For the grotesque.
+MODIFICATION BY ADVENTITION.+
Incapacity of material.--It is evident at a glance that clay lacks the
capacity to assume and to retain many of the details of form found in
antecedent vessels. This necessarily results in the alteration or omission
of these features, and hence arise many modifications of original forms.
The simple lack of capacity on the part of the potter who undertook to
reproduce a model would lead to the modification of all but the most
simple shapes.
The acquisition of the art by a superior or an inferior race, or one of
different habits would lead to decided changes. A people accustomed to
carrying objects upon the head, on acquiring earthen vessels would
shape the bases and the handles to facilitate this use.

Improvements in the methods of