A Study Of The Textile Art In Its Relation To The Development Of Form And Ornament Part 2

[Ill.u.s.tration: FIG. 310. Reticulated pattern in cotton cloth. Work of the ancient Peruvians.]

In a similar way four other bands of narrow open work are introduced, two above and two below the wide band. These are produced by leaving the warp threads free for a short s.p.a.ce and drawing alternate pairs across each other and fixing them so by means of a woof thread, as shown in the cut.

Examples of netting in which decorative features have been worked are found among the textile products of many American tribes and occur as well in several groups of ancient fabrics, but in most cases where designs of importance or complexity are desired parts are introduced to facilitate the work.

_Superconstructive features._--These features, so important in the decoration of fabrics, are the result of devices by which a construction already capable of fulfilling the duties imposed by function has added to it parts intended to enhance beauty and which may or may not be of advantage to the fabric. They const.i.tute one of the most widely used and effective resources of the textile decorator, and are added by sewing or st.i.tching, inserting, drawing, cutting, applying, appending, &c. They add enormously to the capacity for producing relievo effects and make it possible even to render natural forms in the round. Notwithstanding this fact--the most important section of this cla.s.s of features--embroidery is treated to better advantage under color phenomena, as color is very generally a.s.sociated with the designs.

[Ill.u.s.tration: FIG. 311. Open work design embroidered upon a net-like fabric. From a grave at Ancon, Peru.]

One example of lace-like embroidery may be given in this place. It is probably among the best examples of monochrome embroidery America has produced. In design and in method of realization it is identical with the rich, colored embroideries of the ancient Peruvians, being worked upon a net foundation, as shown in Fig. 311. The broad band of figures employs bird forms in connection with running geometric designs, and still more highly conventional bird forms are seen in the narrow band.

Appended ornaments are not amenable to the geometric laws of fabrication to the extent observed in other cla.s.ses of ornament. They are, however, attached in ways consistent with the textile system, and are counted and s.p.a.ced with great care, producing designs of a more or less p.r.o.nounced geometric character. The work is a kind of embroidery, the parts employed being of the nature of pendants.

These include numberless articles derived from nature and art. It will suffice to present a few examples already at hand.

[Ill.u.s.tration: FIG. 312. Basket with pendent buckskin strands tipped with bits of tin. Apache Indians--1/8.]

Fig. 312 ill.u.s.trates a large, well made basket, the work of the Apache Indians. It serves to indicate the method of employing ta.s.sels and cl.u.s.tered pendants, which in this case consist of buckskin strings tipped with conical bits of tin. The checker pattern is in color.

[Ill.u.s.tration: FIG. 313. Basket with pendants of beads and bits of sh.e.l.l, work of the northwest coast Indians.--1/4.]

Fig. 313 ill.u.s.trates the use of other varieties of pendants. A feather decked basket made by the northwest coast Indians is embellished with pendent ornaments consisting of strings of beads tipped with bits of bright sh.e.l.l. The importance of this cla.s.s of work in higher forms of textiles may be ill.u.s.trated by an example from Peru. It is probable that American art has produced few examples of ta.s.seled work more wonderful than that of which a fragment is shown in Fig. 314. It is a fringed mantle, three feet in length and nearly the same in depth, obtained from an ancient tomb. The body is made up of separately woven bands, upon which disk-like and semilunar figures representing human faces are st.i.tched, covering the surface in horizontal rows. To the center of these rosette-like parts cl.u.s.ters of ta.s.sels of varying sizes are attached. The fringe, which is twenty inches deep, is composed entirely of long strings of ta.s.sels, the larger ta.s.sels supporting cl.u.s.ters of smaller ones. There are upwards of three thousand ta.s.sels, the round heads of which are in many cases woven in colors, ridges, and nodes to represent the human features. The general color of the garment, which is of fine, silky wool, is a rich crimson.

The ill.u.s.tration can convey only a hint of the complexity and beauty of the original.

[Ill.u.s.tration: FIG. 314. Ta.s.sel ornamentation from an ancient Peruvian mantle.]

We have now seen how varied and how striking are the surface characters of fabrics as expressed by the third dimension, by variation from a flat, featureless surface, and how all, essential and ornamental, are governed by the laws of geometric combination. We shall now see how these are related to color phenomena.

COLOR PHENOMENA.

_Ordinary features._--In describing the constructive characters of fabrics and the attendant surface phenomena, I called attention to the fact that a greater part of the design manifested is enforced and supplemented by color, which gives new meaning to every feature. Color elements are present in the art from its very inception, and many simple patterns appear as accidents of textile aggregation long before the weaver or the possessor recognizes them as pleasing to the eye.

When, finally, they are so recognized and a desire for greater elaboration springs up, the textile construction lends itself readily to the new office and under the esthetic forces brings about wonderful results without interfering in the least with the technical perfection of the articles embellished. But color is not confined to the mere emphasizing of figures already expressed in relief. It is capable of advancing alone into new fields, producing patterns and designs complex in arrangement and varied in hue, and that, too, without altering the simple, monotonous succession of relievo characters.

In color, as in relieved design, each species of constructive combination gives rise to more or less distinct groups of decorative results, which often become the distinguis.h.i.+ng characteristics of the work of different peoples and the progenitors of long lines of distinctions in national decorative conceptions.

In addition to this apparently limitless capacity for expression, lovers of textile illumination have the whole series of extraordinary resources furnished by expedients not essential to ordinary construction, the character and scope of which have been dwelt upon to some extent in the preceding section.

I have already spoken of color in a general way, as to its necessary presence in art, its artificial application to fabrics and fabric materials, its symbolic characters, and its importance to esthetic progress. My object in this section is to indicate the part it takes in textile design, its methods of expression, the processes by which it advances in elaboration, and the part it takes in all geometric decoration.

It will be necessary, in the first place, to examine briefly the normal tendencies of color combination while still under the direct domination of constructive elaboration. In the way of ill.u.s.tration, let us take first a series of filaments, say in the natural color of the material, and pa.s.s through them in the simplest interlaced style a second series having a distinct color. A very simple geometric pattern is produced, as shown in Fig. 315. It is a sort of checker, an emphasized presentation of the relievo pattern shown in Fig. 291, the figures running horizontally, vertically, and diagonally. Had these filaments been accidentally a.s.sociated in construction, the results might have been the same, but it is unnecessary to indicate in detail the possibilities of advent.i.tious color combinations. So far as they exhibit system at all it is identical with the relievo elaboration.

[Ill.u.s.tration: FIG. 315. Pattern produced by interlacing strands of different colors.]

[Ill.u.s.tration: FIG. 316. Pattern produced by modifying the alternation of fillets.]

[Ill.u.s.tration: FIG. 317. Isolated figures produced by modifying the order of intersection.]

a.s.suming that the idea of developing these figures into something more elaborate and striking is already conceived, let us study the processes and tendencies of growth. A very slight degree of ingenuity will enable the workman to vary the relation of the parts, producing a succession of results such, perhaps, as indicated in Fig. 316. In this example we have rows of isolated squares in white which may be turned hither and thither at pleasure, within certain angles, but they result in nothing more than monotonous successions of squares.

[Ill.u.s.tration: FIG. 318. Pattern produced by simple alternations of light and dark fillets. Basketry of the Indians of British Guiana.]

Additional facility of expression is obtained by employing dark strands in the vertical series also, and large, isolated areas of solid color may be produced by changing the order of intersection, certain of the fillets being carried over two or more of the opposing series and in contiguous s.p.a.ces at one step, as seen in Fig. 317. With these elementary resources the weaver has very considerable powers of expression, as will be seen in Fig. 318, which is taken from a basket made by South American Indians, and in Fig. 341, where human figures are delineated. The patterns in such cases are all rigidly geometric and exhibit stepped outlines of a p.r.o.nounced kind. With impacting and increased refinement of fillets the stepped character is in a considerable measure lost sight of and realistic, graphic representation is to a greater extent within the workman's reach. It is probable, however, that the idea of weaving complex ideographic characters would not occur to the primitive mind at a very early date, and a long period of progress would elapse before delineative subjects would be attempted.

I do not need to follow this style of combination into the more refined kinds of work and into loom products, but may add that through all, until perverted by ulterior influences, the characteristic geometricity and monotonous repet.i.tion are allpervading.

For the purpose of looking still more closely into the tendencies of normal textile decorative development I shall present a series of Indian baskets, choosing mainly from the closely woven or impacted varieties because they are so well represented in our collections and at the same time are so very generally embellished with designs in color; besides, they are probably among the most simple and primitive textile products known. I have already shown that several types of combination when closely impacted produce very similar surface characters and encourage the same general style of decoration. In nearly all, the color features are confined to one series of fillets--those of the woof--the other, the warp, being completely hidden from view. In the preceding series the warp and woof were almost equally concerned in the expression of design. Here but one is used, and in consequence there is much freedom of expression, as the artist carries the colored filaments back and forth or inserts new ones at will. Still it will be seen that in doing this he is by no means free; he must follow the straight and narrow pathway laid down by the warp and woof, and, do what he may, he arrives at purely geometric results.

[Ill.u.s.tration: FIG. 319. Base of coiled basket showing the method of building by dual coiling. The base or warp coil is composed of untwisted fiber and is formed by adding to the free end as the coiling goes on. The woof or binding filament, as it is coiled, is caught into the upper surface of the preceding turn--1/8.]

[Ill.u.s.tration: FIG. 320. Coiled basket with simple geometric ornament.

Work of the northwest coast Indians--1/8.]

I will now present the examples, which for the sake of uniformity are in all cases of the coiled ware. If a basket is made with no other idea than that of use the surface is apt to be pretty uniform in color, the natural color of the woof fillets. If decoration is desired a colored fillet is introduced, which, for the time, takes the place and does the duty of the ordinary strand. Fig. 319 serves to show the construction and surface appearance of the base of a coil made vessel still quite free from any color decoration. Now, if it is desired to begin a design, the plain wrapping thread is dropped and a colored fillet is inserted and the coiling continues. Carried once around the vessel we have an encircling line of dark color corresponding to the lower line of the ornament seen in Fig. 320. If the artist is content with a single line of color he sets the end of the dark thread and takes up the light colored one previously dropped and continues the coiling. If further elaboration is desired it is easily accomplished.

In the example given the workman has taken up the dark fillet again and carried it a few times around the next turn of the warp coil; then it has been dropped and the white thread taken up, and again, in turn, another dark thread has been introduced and coiled for a few turns, and so on until four encircling rows of dark, alternating rectangles have been produced. Desiring to introduce a meandered design he has taken the upper series of rectangles as bases and adding colored filaments at the proper time has carried oblique lines, one to the right and the other to the left, across the six succeeding ridges of the warp coil. The pairs of stepped lines meeting above were joined in rectangles like those below, and the decoration was closed by a border line at the top. The vessel was then completed in the light colored material. In this ornament all forms are bounded by two cla.s.ses of lines, vertical and horizontal (or, viewed from above or below, radial and encircling), the lines of the warp and the woof. Oblique bands of color are made up of series of rectangles, giving stepped outlines.

Although these figures are purely geometric, it is not impossible that in their position and grouping they preserve a trace of some imitative conception modified to this shape by the forces of the art. They serve quite as well, however, to ill.u.s.trate simple mechanical elaboration as if entirely free from suspicion of a.s.sociated ideas.

[Ill.u.s.tration: FIG. 321. Coiled basket with encircling bands of ornament in white, red, and black, upon a yellowish ground. Obtained from the Indians of the Tule River, California--1/8.]

In Fig. 321 I present a superb piece of work executed by the Indians of the Tule River, California. It is woven in the closely impacted, coiled style. The ornament is arranged in horizontal zones and consists of a series of diamond shaped figures in white with red centers and black frames set side by side. The processes of subst.i.tution where changes of color are required are the same as in the preceding case and the forms of figures and the disposition of designs are the same, being governed by the same forces.

[Ill.u.s.tration: FIG. 322. Coiled basket with ornament arranged in zigzag rays. Obtained from the Pima Indians of Arizona--1/8.]

Another choice piece, from the Pima Indians of Arizona, is given in Fig. 322. The lines of the ornament adhere exclusively to the directions imposed by the warp and the woof, the stripes of black color ascending with the turns of the fillet for a short distance, then for a time following the horizontal ridges, and again ascending, the complete result being a series of zigzag rays set very close together. These rays take an oblique turn to the left, and the dark figures at the angles, from the necessities of construction, form rows at right angles to these. A few supplementary rays are added toward the margin to fill out the widening s.p.a.ces. Another striking example of the domination of technique over design is ill.u.s.trated in Fig. 323.

[Ill.u.s.tration: FIG. 323. Coiled basket with two bands of meandered ornament. Obtained from the Pima Indians of Arizona--1/4.]

Two strongly marked, fret-like meanders encircle the vessel, the elements of which are ruled exclusively by the warp and woof, by the radiate and the concentric lines of construction. This is the work of the Pima Indians of Arizona.

[Ill.u.s.tration: FIG. 324. Coiled basket with geometric ornament composed of triangular figures. Obtained from the McCloud River Indians, California--1/8.]

I shall close the series with a very handsome example of Indian basketry and of basketry ornamentation (Fig. 324). The conical shape is highly pleasing and the design is thoroughly satisfactory and, like all the others, is applied in a way indicative of a refined sense of the decorative requirements of the utensil. The design is wholly geometric, and, although varied in appearance, is composed almost exclusively of dark triangular figures upon a light ground. The general grouping is in three horizontal or encircling bands agreeing with or following the foundation coil. Details are governed by the horizontal and the oblique structure lines. The vertical construction lines have no direct part in the conformation of the design excepting in so far as they impose a stepped character upon all oblique outlines.

These studies could be carried through all the types of primitive textile combination, but such a work seems unnecessary, for in all cases the elaboration in design, relieved and colored, is along similar lines, is governed by the same cla.s.s of forces, and reaches closely corresponding results.

We have observed throughout the series of examples presented a decided tendency toward banded or zonal arrangement of the ornamentation. Now each of these bands is made up of a number of units, uniform in shape and in size and joined or linked together in various suitable and consistent ways. In contemplating them we are led to inquire into the nature of the forces concerned in the accomplishment of such results.

The question arises as to exactly how much of the segregating and aggregating forces or tendencies belongs to the technique of the art and how much to the direct esthetic supervision of the human agent, questions as to ideographic influence being for the present omitted.

This is a difficult problem to deal with, and I shall not attempt more here than to point out the apparent teachings of the examples studied.

The desires of the mind const.i.tute the motive power, the force that gives rise to all progress in art; the appreciation of beauty and the desire to increase it are the cause of all progress in purely decorative elaboration. It appears, however, that there is in the mind no preconceived idea of what that elaboration should be. The mind is a growing thing and is led forward along the pathways laid out by environment. Seeking in art gratification of an esthetic kind it follows the lead of technique along the channels opened by such of the useful arts as offer suggestions of embellishment. The results reached vary with the arts and are important in proportion to the facilities furnished by the arts. As I have already amply shown, the textile art possesses vast advantages over all other arts in this respect, as it is first in the field, of widest application, full of suggestions of embellishment, and inexorably fixed in its methods of expression. The mind in its primitive, mobile condition is as clay in the grasp of technique.

A close a.n.a.lysis of the forces and the influences inherent in the art will be instructive. For the sake of simplicity I exclude from consideration all but purely mechanical or non-ideographic elements.

It will be observed that order, uniformity, symmetry, are among the first lessons of the textile art. From the very beginning the workman finds it necessary to direct his attention to these considerations in the preparation of his material as well as in the building of his utensils. If parts employed in construction are multiple they must be uniform, and to reach definite results (presupposing always a demand for such results), either in form or ornament, there must be a constant counting of numbers and adjusting to s.p.a.ces. The most fundamental and constant elements embodied in textile art and available for the expression of embellishment are the minute steps of the intersections or bindings; the most necessary and constant combination of these elements is in continuous lines or in rows of isolated figures; the most necessary and constant directions for these combinations are with the web and the woof, or with their complementaries, the diagonals. If large areas are covered certain separation or aggregation of the elements into larger units is called for, as otherwise absolute sameness would result. Such separation or aggregation conforms to the construction lines of the fabric, as any other arrangement would be unnatural and difficult of accomplishment.

When the elements or units combine in continuous zones, bands, or rays they are placed side by side in simple juxtaposition or are united in various ways, always following the guide lines of construction through simple and complex convolutions. Whatever is done is at the suggestion of technique; whatever is done takes a form and arrangement imposed by technique. Results are like in like techniques and are unlike in unlike techniques; they therefore vary with the art and with its variations in time and character.