Origin and Development of Form and Ornament in Ceramic Art. | Page 8

William H. Holmes
significant figures are borrowed by decorators from other branches of art. As time goes on they lose their significance and are subsequently treated as purely decorative elements. Subjects wholly pictorial in character, when such come to be made, may also be used as simple decoration, and by long processes of convention become geometric.
The exact amount of significance still attached to significant figures after adoption into decoration cannot be determined except in cases of actual identification by living peoples, and even when the signification is known by the more learned individuals the decorator may be wholly without knowledge of it.

MODIFICATION OF ORNAMENT.
There are comparatively few elementary ideas prominently and generally employed in primitive decorative art. New ideas are acquired, as already shown, all along the pathway of progress. None of these ideas retain a uniform expression, however, as they are subject to modification by environment just as are the forms of living organisms. A brief classification of the causes of modification is given in the following synopsis:
/Through material. Modification of ornament------|Through form. \Through, methods of realization.
Through material.--It is evident at a glance that material must have a strong influence upon the forms assumed by the various decorative motives, however derived. Thus stone, clay, wood, bone, and copper, although they readily borrow from nature and from each other, necessarily show different decorative results. Stone is massive and takes form slowly and by peculiar processes. Clay is more versatile and decoration may be scratched, incised, painted, or modeled in relief with equal facility, while wood and metal engender details having characters peculiar to themselves, producing different results from the same motives or elements. Much of the diversity displayed by the art products of different countries and climates is due to this cause.
Peoples dwelling in arctic climates are limited, by their materials, to particular modes of expression. Bone and ivory as shaped for use in the arts of subsistence afford facilities for the employment of a very restricted class of linear decoration, such chiefly as could be scratched with a hard point upon small irregular, often cylindrical, implements. Skins and other animal tissues are not favorable to the development of ornament, and the textile arts--the greatest agents of convention--do not readily find suitable materials in which to work.
Decorative art carried to a high stage under arctic environment would be more likely to achieve unconventional and realistic forms than if developed in more highly favored countries. The accurate geometric and linear patterns would hardly arise.
Through form.--Forms of decorated objects exercise a strong influence upon the decorative designs employed. It would be more difficult to tattoo the human face or body with straight lines or rectilinear patterns than with curved ones. An ornament applied originally to a vessel of a given form would accommodate itself to that form pretty much as costume becomes adjusted to the individual. When it came to be required for another form of vessel, very decided changes might be necessary.
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
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