Ancient art of the province of Chiriqui, Colombia Part 12

Perhaps the most interesting of these uncla.s.sified vases is a somewhat fragmentary piece, of which an outline is given in Fig. 216. The ware closely resembles that of the alligator group in color of the paste and slip, but the base has been supplied with an annular stand, a feature not observed in that group, and the colors of the design, with the exception of the black, are unlike those used in Chiriquian vases.

[Ill.u.s.tration: Fig. 216. Vase of unique form and decoration--?.]

[Ill.u.s.tration: Fig. 217. Painted design of vase in Fig. 216 in black, red, and gray.]

It will be seen by reference to Fig. 217 that the painted figures are partially pictorial, the conventional scenes including the sun, the moon, and stars. The more conventional parts of the design are very curious and without doubt are symbolic. The border of fret work is Mexican in style. The sun, which is only partially exposed above the horizon, is outlined in red and is surrounded by red rays. The figures supposed to represent the moon and the stars are in black. In the ill.u.s.tration the reds of the original are represented by vertical tint lines and the brownish grays by horizontal tint lines. The black is in solid color.

MISCELLANEOUS OBJECTS OF CLAY.

As primitive peoples advance in culture and the various branches of art are differentiated, each of the materials employed is made to fill a wider and wider sphere of usefulness. Clay, applied at first to vessel making and used perhaps as an auxiliary in a number of arts in which it took no definite or individual shapes, gradually extended its dominion until almost every art was in a measure dependent upon it or in some way utilized it. The extent of this expansion of availability is in a general way a measure of the advancement of the races concerned. The Chiriquians employed clay in the construction of textile machinery, as shown by the occurrence of spindle whorls, and a number of small receptacles, probably needlecases, are constructed of that material. It was employed in the manufacture of stools, statuettes, drums, rattles, and whistles. With less cultured races, such as the Pueblo and mound builders of the north, such articles were rarely manufactured, while with the more cultured nations of Mexico and Peru a wider field was covered and the work was considerably superior.

SPINDLE WHORLS.

The art of weaving was carried to a high degree of perfection by many of the American races, but the processes employed were of the simplest kind. The threads were spun upon wooden spindles weighted with whorls of baked clay. These whorls are not plentiful in the graves of Chiriqui, but such as have been collected are quite similar in style to those of Mexico and Peru. In Figs. 218, 219, and 220 we have three examples modeled with considerable attention to detail but comparatively rude in finish. They are in the natural color of the baked clay and are but rudely polished. The first is encircled by a line of rough, indented nodes, the second is embellished with homely little animal figures, and the third with incised patterns and rude incisions.

[Ill.u.s.tration: Fig. 218. Spindle whorl in gray clay decorated with annular nodes--1/1.]

[Ill.u.s.tration: Fig. 219. Spindle whorl of gray clay with animal figures--1/1.]

[Ill.u.s.tration: Fig. 220. Spindle whorl of dark clay with perforations and incised ornament--1/1.]

NEEDLECASES (?).

I have given this name to a rather large cla.s.s of small oblong or oval receptacles that could have served to contain needles or any other small articles of domestic use or of the toilet. They consist of two parts, a vessel or body and a lid. The former takes a variety of cylindrical, subcylindrical, and doubly conical shapes, and the latter is conical and is in many cases furnished with a k.n.o.b at the top for grasping with the fingers. The lid is attached or held in place by means of strings pa.s.sed through small holes made for the purpose in corresponding margins of the two parts. These objects were in pretty general use in the province, as they are found to belong to a number of the groups of ware, being finished and decorated as are the ordinary vessels of these cla.s.ses.

A few type specimens are given in the following cuts. A fine example belonging to the unpainted ware is shown in outline in Fig. 221. It is five inches in height and three in diameter and is pleasing in shape.

The specimen outlined in Fig. 222 is of the lost color group, but has lost nearly all traces of the decorative design.

[Ill.u.s.tration: Fig. 221. Needlecase of unpainted clay with conical lid--.]

[Ill.u.s.tration: Fig. 222. Needlecase, lost color group of ware--.]

A fine example, with high polish and elaborate decoration, is presented in Fig. 223. The lid is raised to show the position of the perforations.

Two interesting examples belonging to the dark incised ware are shown in Figs. 224 and 225. The deeply incised design of the first is purely geometric, but is probably of graphic parentage, while that of the second, rather rudely scratched through the dark surface into the gray paste, is apparently a less highly conventionalized treatment of the same motive.

[Ill.u.s.tration: Fig. 223. Needlecase with painted geometric ornament, belonging to the lost color group of ware--.]

[Ill.u.s.tration: Fig. 224. Needlecase of gray clay with angular incised geometric ornament--.]

[Ill.u.s.tration: Fig. 225. Needlecase of gray clay with black polished surface and incised ornament--.]

FIGURINES.

I have already called attention to the fact that there is no such thing in Chiriquian ceramic art as a well modeled human figure and apparently no indication of an attempt to render the human physiognomy with accuracy. It is highly probable that the personages embodied in the mythology of the people took the forms of animals or were anthropomorphic and gave rise to the peculiar conceptions embodied in their arts. The strange objects herewith presented are rendered in a measure intelligible by the adoption of this hypothesis. These figurines are confined to the alligator group of ware and are quite numerous. They are small, carefully finished, and painted with care in red and black lines and figures. They are semihuman and appear to be arrayed in costume. The head of each is triangular in shape, having a sharp, projecting profile, with the mouth set back beneath the chin, reminding one of the face of a squirrel or some such rodent. The figures occupy a sitting posture. The legs are spread out horizontally, giving a firm support, and terminate in blunt cones, which are in some cases slightly bent up to represent feet. The hands rest upon the sides or thighs or clasp a small figure apparently intended for an infant, which, however, does not seem to have any human features. In one case this figure is placed upon the back of the figurine and appears to hold its place by means of four feet armed with claws (Fig. 226); in another it is held in front (Fig. 227). The neck is usually pierced to facilitate suspension, and the under side of the body--the sitting surface--is triply perforated, or punctured if solid, as if for the purpose of fixing the figure in an upright position to some movable support. The central perforation is round and the lateral ones, on the under side of the legs, are oblong. The largest specimen is six inches in height and the smallest about one and a half inches. They are rather elaborately painted with black and red devices which, by their peculiar geometric character, are undoubtedly intended to indicate the costume. The hair is represented by black stripes, which descend upon the neck, and the face is striped with red. They are found a.s.sociated with other relics in the graves and were possibly only toys, but more probably were tutelary images or served some unknown religious purpose. The s.e.x is usually feminine. Two additional examples showing side and back views are outlined in Figs. 228 and 229.

[Ill.u.s.tration: Fig. 226. Statuette, alligator group--1/1.]

[Ill.u.s.tration: Fig. 227. Statuette, alligator group--1/1.]

[Ill.u.s.tration: Fig. 228. Statuette of small size--1/1.]

[Ill.u.s.tration: Fig. 229. Statuette of largest size--.]

STOOLS.

I have given this name to a cla.s.s of stone carvings presented in a previous section, and, for want of a better name, give it also to a series of similar objects modeled in clay. These are among the most elaborate products of Chiriquian art. In all cases they are of the yellowish unpainted pottery and indicate much freedom and skill in the handling of clay. They do not show any well defined evidences of use, and as they are too slight and fragile to be used as ordinary seats we are left to surmise that they may have served some purpose in the religious rites of the ancient races. They are uniform in construction and general conformation and consist of a circular tablet supported by upright circular walls or by figures which rest upon a strong, ring shaped base. The tablet or plate is somewhat concave above, is less than an inch in thickness, and has a diameter of ten and one-fourth inches in the largest piece, descending to seven and one-half in the smallest. The margin is rounded and usually embellished with a beaded ornament consisting of grotesque heads, generally reptilian. The variations exhibited in details of modeling are well shown by the ill.u.s.trations. In the example given in Fig. 230 the upright portion is a hollow cylinder, having four vertical slits, alternating with which are oblique bands of ornament in incised lines and punctures. The projecting margin of the tablet is encircled by a row of grotesque, monkey-like heads, facing downward.

[Ill.u.s.tration: Fig. 230. Stool of plain terra cotta, decorated with grotesque heads and incised figures--?.]

Fig. 231 ill.u.s.trates a specimen in which three grotesque figures, with forbidding faces, alternate with as many flat columns embellished with rude figures of alligators. Eighteen grotesque, monkey-like heads occupy the lower margin of the seat plate in the s.p.a.ces between the heads of the supporting figures. This specimen ill.u.s.trates the favorite Chiriquian method of construction. The various parts were modeled separately in a rough way and then set into place in the order of their importance. When this was done and the insertions were neatly worked together with the fingers, a number of small instruments were employed in finis.h.i.+ng: a sharp stylus for indicating parts of the costume, and blunt points and small tubular dies for adding intaglio details of anatomy, such as the navel, the pupils of the eyes, and the partings of the fingers and toes.

[Ill.u.s.tration: Fig. 231. Stool of plain clay, with grotesque figures--.]

The discoidal plate of another specimen is supported by four absurdly grotesque monkeys, giving a general effect much like that of the last.

[Ill.u.s.tration: Fig. 232. Stool of plain terra cotta, with strange figures--?.]

A very remarkable piece is shown in Fig. 232. The tablet is supported by six grotesque figures, somewhat human in appearance, whose limbs are intertwined with serpents, suggesting the famous group of the Laoc.o.o.n.

The work is roughly done and the details are not carried out in a very consistent manner, as the arms and legs of the figures become confused with the reptiles and are as likely to terminate in a snake's head as in a hand or foot. The rudely shaped bodies are covered with indented circlets or with short incised lines. The material, color, and finish are as usual. The height is four and one-half inches and the diameter of the tablet ten inches.

There are additional specimens in the National Museum. In one case, the largest specimen of the series, the tablet is supported by five upright female human figures and the margin is encircled by a cornice of forty-six neatly modeled reptilian heads. A small example differs considerably in general shape from those ill.u.s.trated, the base being much smaller than the circular tablet. The supporting figures are two rudely modeled ocelots and two monkey-like figures, all of which are placed in an inverted position. Similar objects are obtained from the neighboring states of Central and South America.

MUSICAL INSTRUMENTS.

Something is already known of the musical instruments of the ancient Chiriquians through fugitive specimens that have found their way into collections in all parts of Europe and America. The testimony of the earthen relics--for no others are preserved to us--goes to show that the art of music was, in its rude way, very a.s.siduously practiced, and that it probably const.i.tuted with these, as with most primitive communities, a serious and important feature in the various ceremonial exercises.

Clay is naturally limited to the production of a small percentage of the musical instruments of any people, the various forms of woody growths being better adapted to their manufacture. We have examples of both instruments of percussion and wind instruments, the former cla.s.s embracing drums and rattles and the latter whistles and clarionette-like pipes.

_Rattles._--Besides the ordinary rattles attached to and forming parts of vessels, as already described, there are a number of small pieces that seem to have served exclusively as rattles, while some are rattle and whistle combined in one piece. In no case, however, would they seem to the unscientific observer to be more than mere toys, as they are of small size and the sounds emitted are too weak to be perceptible at any considerable distance. At the same time it is true that they may have had ceremonial offices of no little consequence to the primitive priesthood. The simple rattles are shaped like gourds, the body being globular and the neck or handle long and straight. Like the wares already described, they are finished and decorated, the majority belonging to the lost color group. The length varies from three to six or seven inches. A number of minute slit-like orifices or perforations for the emission of the sound occur about the upper part of the body (Fig. 233). A septum is placed in the lower part of the neck, so that the handle, which is hollow and open at the upper end, may serve as a whistle. In some cases the lower part of the neck is perforated for suspension at the point occupied by the septum, as imperfectly shown in the section (Fig. 234). The most interesting specimen in the collection is shown in Fig. 235; it is especially notable on account of its construction, which points clearly to the gourd as a prototype. The body is of the usual globular shape, slightly elongated above. The neck is represented as a separate piece lashed on with cords by means of perforations made for the purpose, just as are the handles of similar instruments constructed of gourds and reeds in Central American countries. The compartments of the handle and of the body are separate and the sound produced by the small oval pellets is emitted through slits of the usual form. The top of the handle is surmounted by a pair of grotesque human figures, male and female, placed back to back and united at the backs of the heads as seen in the cut. This object is gray in color and presents the roughened granular surface resulting from long exposure to the elements.

[Ill.u.s.tration: Fig. 233. Rattle decorated in the style of the lost color group--.]

[Ill.u.s.tration: Fig. 234. Section of rattle shown in Fig. 233.]

[Ill.u.s.tration: Fig. 235. Rattle of plain ware surmounted by two grotesque figures--.]

_Drums._--The drum was a favorite instrument with the native American musician. Early explorers found its use next to universal, and the "tambour" is even now a characteristic feature of the musical paraphernalia of the Spanish-Americans. The primitive instrument was made by stretching a thin sheet of animal tissue over the orifice of a large gourd vessel or a vessel of wood or clay. The use of clay was probably exceptional, as there are but three specimens in our Chiriquian collection. The shape is somewhat like that of an hour gla.s.s, the upper part, however, being considerably larger than the base or stand. In all cases the princ.i.p.al rim is finished with especial reference to the attachment of the vibrating head. The example presented in Fig. 236 has a deeply scarified belt an inch wide encircling the rim, and below it is a narrow ridge, intended perhaps to facilitate the las.h.i.+ng or cementing on of the head. Two raised bands, intended to imitate twisted cords, encircle the most constricted part of the body, a single band similarly marked encircling the base. The surface is gray in color and but rudely polished. The walls are about three-eighths of an inch thick, the height sixteen and one-half inches, and the greatest diameter seven and one-half inches.

[Ill.u.s.tration: Fig. 236. Drum of gray unpainted clay--.]

The decorated specimen ill.u.s.trated in Fig. 237 is imperfect, a few inches of the base having been lost. The shape is rather more elegant than that of the other specimen and the surface is neatly finished and polished. The ground color or slip is a warm yellow gray and the decoration is in red and black. The rim or upper margin is rather rudely finished and is painted red and on the exterior is made slightly concave and furnished with a raised band to facilitate the attachment of the head. The painted ornament encircles the body in four zones, two upon the upper portion and two upon the base. The designs occupying the body zones are unique and viewed in the light of their probable origin are extremely interesting. In another place further on in this paper I shall show that they are probably very highly conventionalized derivatives of the alligator radical, the meandered line representing the body of the creature and the scalloped hooks the extremities (Fig. 238). The two bands upon the base consist of geometric figures, the origin of which cannot be definitely determined, although they also probably refer to the alligator.

[Ill.u.s.tration: Fig. 237. Drum with painted ornament in the style of the lost color group--1/9.]

[Ill.u.s.tration: Fig. 238. Conventional design on drum shown in Fig. 237, composed of alligator derivatives.]

In the collection there is a minute toy drum of the same general shape, and the same form reappears in some of the whistles, in one of which (Fig. 247) the skin head and its fastenings are all carefully reproduced in miniature. The immediate original of this particular form of drum was probably made of wood. A drum, recently brought from Costa Rica was made by hollowing out a cylindrical piece of wood and stretching a piece of snakeskin across the top. The shape is nearly identical with that of these earthen specimens.

_Wind instruments._--Earthenware wind instruments are found in considerable numbers and are a.s.sociated with other relics in the tombs.

Nearly all are very simple in construction and are limited in musical power, receiving and perhaps generally deserving no better name than whistles or toys. A few pieces are more pretentious and yield a number of notes, and if operated by skilled performers or properly concerted are capable of producing pleasing melodies. It is not difficult to determine the powers of individual instruments, but we cannot say to what extent these powers were understood by the original owners, nor can we say whether or not they were intended to be played in unison in such a way as to give a certain desired succession of intervals. There are, however, in a large number of these instruments a uniformity in construction and a certain close correspondence in the number and degree of the sounds that indicate the existence of well established standards.