[Ill.u.s.tration: _a, b, c, d_ Fig. 280. Devices derived from drawings of parts of the life form.]
[Ill.u.s.tration: Fig. 281. Devices incised in a needlecase.]
[Ill.u.s.tration: Fig. 282. Devices representing the markings of a reptile"s body.]
The derivation of the fret and scroll--most admired of the decorative motives of numerous races--has been a fruitful source of discussion. The vase painting of Chiriqui serves to throw new light upon the subject. We learn by the series of steps ill.u.s.trated in the annexed cuts that the alligator radical, under peculiar restraints and influences, a.s.sumes conventional forms that merge imperceptibly into these cla.s.sic devices.
In the third series given (Fig. 279) the first figure is far removed from the realistic stage of representation, but it is one of the ordinary conventional guises of the alligator. Other still more conventional forms are seen in the three succeeding figures, the last of which is a typical rectangular fret link known and used by most nations of moderate culture. The derivatives in nearly all the preceding figures can be traced back to the body of the creature as a root, but there are many examples which seem to have come from the delineation of a part of the creature, as the head, foot, eye, or scales--abbreviated representatives of the whole creature. Such parts, a.s.suming the role of radicals, pa.s.s also through a series of modifications, ending in purely geometric devices in the manner indicated in the following or fourth series of examples (Fig. 280). In the first cut we have what appears to be the leg and foot of the favorite reptile, and following this are other forms that seem to refer to the same feature. Additional examples are shown in Figs. 281 and 282, which, while they doubtless arose more or less directly from the life form, are not so readily traceable through less conventional antecedents. The first forms part of the incised ornament of a small vase or needlecase and the second is a section of the zonal ornament of the tripod cup ill.u.s.trated in Fig. 203, by reference to which it will be seen that the zone of devices serves to connect the head and the tail of the reptile, which are modeled as a part of the vase; the devices therefore represent the markings of the creature"s body, although they may originally have been derived from the figure of the whole or a part of the animal rather than from the markings of the skin. In other examples still more highly conventional figures are found to hold the same relation to the plastic representation of the extremities of the creature. They include the meander, the scroll, the fret, and the guilloche. We find that in the stone metates of many parts of Central America, nearly all of which are carved to imitate the puma, the head and tail of the creature are connected by bands of similar devices that encircle the margin of the mealing plate (see Fig. 9). The alligator form is therefore not necessarily the originator of all such devices. It is probable that any animal form extensively used by such lovers of decoration as the ancient inhabitants of Central America would be found thus interwoven with decoration. These considerations will serve to widen our views upon the origin and development of especial devices. As it now stands we are absolutely certain that no race, no art, no motive or element in nature or in art can claim the exclusive origination of any one of the well known or standard conventional devices, and that any race, art, or individual motive is capable of giving rise to any and to all such devices. Nothing can be more absurd than to suppose that the signification or symbolism attaching to a given form is uniform the world over, as the ideas a.s.sociated with each must vary with the channels through which they were developed.
[Ill.u.s.tration: _a, b, c, d, e, f, g_ Fig. 283. Conventional figures derived from the markings of the bodies of animals.]
Other cla.s.ses of geometric figures, derived chiefly from scale or skin markings, are given in the fifth series. In more realistic phases of representation the dentate and dotted devices are ranged along the body of the creature, as in nature, but as convention progresses they are used independently to fill up s.p.a.ces, to form the septa of panels, &c.
Many ill.u.s.trations appear in the preceding pages and additional examples are given in Fig. 283. It is possible that these devices come from delineations of a number of distinct animal forms; but in the higher stages of convention confusion cannot be avoided, and must have existed to some extent in the mind of the decorator; they serve, however, to ill.u.s.trate the stages of simplification through which all forms extensively used for a long period must pa.s.s. The laws of derivation, modification, and application in art are the same in all.
It has now been shown that life forms and their varied derivatives const.i.tute the great body of Chiriquian decorative motives; that when first introduced the delineations are more or less realistic, according to the skill of the artist or the demands of the art; but that in time, by a long series of abbreviations and alterations, they descend to simple geometric forms in which all visible connection with the originals is lost. The agencies through which this result is accomplished are chiefly the mechanical restraints of the art acting independently of voluntary modification and without direct exercise of esthetic desire.
There may be forces at work of which we find no clear indications. Some of the conventional forms into which life forms are found to grade may be survivals of forms originating in other regions and belonging to other cultures which have through accidents of contact imposed themselves upon Chiriquian art; such are the scroll, the fret, and the guilloche; but the thorough manner in which such forms are interwoven with purely Chiriquian conceptions makes it impossible to substantiate such a theory. The conclusion most easily and most naturally reached is that all are probably indigenous to Chiriqui, and hence the striking deduction that _the processes of modification inherent in the art are of such a nature that any animal form extensively used in decoration may give rise to any or all of the highly conventional forms of ornament_.
During the progress of this study a question has frequently been raised as to the extent to which the memory of the creature original or of its symbolism in first use was kept alive in the mind of the decorator. It is a well established fact that primitive peoples habitually invest inanimate objects with the attributes of living creatures. Thus the vessel, from the time it a.s.sumes individual shape and is fitted to perform a function, is thought of as a living being, and by the addition of plastic or painted details it becomes a particular creature, an alligator, a fish, or a puma, each of which is in most cases the symbol of some mythologic concept. When, through the changes of convention in infinite repet.i.tion, all resemblance to individual creatures was lost and mere k.n.o.bs or simple geometric figures occupied the surface of the vessel, there is little doubt that many of these features still recalled to the mind of the potter the ultimate originals and the conceptions of which they were the representatives, and that others represented ideas, the outgrowth of or a development from primary ideas, while still others had acquired entirely new ideas from without. It cannot be denied, however, that there does come a time in the history of vase painting at which such a.s.sociated ideas become vague and are lost and elements formerly significant are added and combinations of them are made for embellishment alone, without reference to meaning or appropriateness; but I am inclined to place this period a very long way from the initiatory stages of the art. It may not be possible to find evidence of the arrival of this period, as it is not necessarily marked by any loss of unity or consistency--striking characteristics of ancient American art; for such is the conservatism of indigenous methods that, unless there be forcible intrusion of exotic art, original forms and groupings may be perpetuated indefinitely and remain much the same in appearance after the a.s.sociated ideas are modified or lost.
[Ill.u.s.tration: Fig. 284. Vase with decorated zone containing remarkable devices--?.]
[Ill.u.s.tration: Fig. 285. Series of twelve conventional devices from the decorated zone of a vase.]
In our study of the forms and meanings of these devices it should not be forgotten that collateral branches of art are also simultaneously employing the same motives and reducing them through other similar cla.s.ses of conventionalizing forces to corresponding forms. Recording arts--pictography, hieroglyphic and phonetic writing--carry life forms through all degrees of abbreviation and change, and all ceremonial and all domestic arts with which such forms are a.s.sociated do the same; and it is not impossible that many conventional forms found upon pottery are borrowed outright from the other arts. It will be impossible to detect these borrowed elements unless very literally transferred from some art the style of which is well known. It would be comparatively easy to identify literal borrowings from phonetic art or even from hieroglyphic art, as the form and arrangement of the devices are quite unlike those observed in pure decoration. We do not know that Chiriquian culture had achieved a hieroglyphic or a phonetic system of writing, but it is worth while to call attention to the form and the manner of employment of some of the devices found upon the pottery. In Fig. 284 I present an outline drawing of a vase, the shoulder of which is encircled by a broad zone of decoration. This zone is divided into panels by oblique lines. A row of rectangular compartments extends along the middle of the band and rows of triangular s.p.a.ces occur at the sides. Each s.p.a.ce is occupied by a device having one or more features suggesting a pictorial original and doubtless derived from one. In the main row there are twelve figures, no two of which are identical. Although we are unable to show that any of these characters had other than a purely decorative use, we see how richly the ancient peoples were supplied, through the conventionalizing agencies of the art, with devices that could have been employed as ideograms and letters where such were needed, and devices, too, that, from their derivation and use in the art, must in most cases have had ideas a.s.sociated with them.
ReSUMe.
A brief summary of the more salient points of interest dwelt upon in this paper may very appropriately be given in this place. We find that a limited area--a small and obscure province of the isthmian region--possesses a wonderful wealth of art products the character of which indicates a long period of occupation by peoples of considerable culture. The art remains are perhaps as a whole inferior to those of the districts to the north and south, but they possess many features in common with the art of neighboring provinces. There is, however, at the same time, a well marked individuality. In conception and execution these works are purely aboriginal, and, so far as can be determined by the data at hand, are pre-Columbian, and possibly to a great extent remotely pre-Columbian. The discovery of articles of bronze, which metal we cannot prove to be of indigenous production, is the only internal evidence pointing toward the continuance of the ancient epoch of culture into post-Columbian times. The relics are obtained from tombs from which nearly all traces of human remains have disappeared.
Art in stone covers the ground usually occupied by works in this material in other Central American countries, save in the matter of architecture, of which art there are but meager traces. There are rock inscriptions, statuettes and statues of rather rude character, shapely mealing stones, elaborately carved seats or stools, many celts of extremely neat workmanship, spear and arrow points of unique shape, and a very few beads and pendent ornaments. There are apparently no traces of implements of war.
In metal there are numerous and somewhat remarkable works. They are of gold, gold-copper alloy, copper, and bronze. The objects are of small size, rarely reaching a pound in weight, and they are almost exclusively pendent ornaments. They were, for the most part, cast in molds, and in nine cases out of ten represent animal forms. A few bells are found, all of which are of bronze. Pieces formed of alloyed metal are usually washed or plated with pure gold.
The great body of relics are in clay, and the workmanship displayed is often admirable. Vases are found in great numbers, and as a rule are small and shapely, and are so carefully and elaborately decorated as to lead to the inference that their office was in a great measure ceremonial. They take a high place among American fictile products for grace of form and beauty of decoration. There is neither glaze nor evidence of the use of a wheel. Besides vases we have several other cla.s.ses of objects, which include grotesque, toy-like statuettes, small, covered receptacles resembling needlecases, seat-like objects elaborately modeled, spindle whorls, and musical instruments. The occurrence of numerous specimens of the two latter cla.s.ses indicates that the arts of weaving and music were a.s.siduously practiced.
An examination of the esthetic features of the ceramic art has proved exceptionally instructive. We find much that is worthy of attention in the forms of vases as well as in the plastic or relieved features of embellishment, and a still richer field is opened by the study of the incised and painted--the flat--decorations.
I have shown that the elements of decoration flow into the ceramic art chiefly through two channels, the one from art and the other from nature. Elements from art are mainly of mechanical origin, and are, therefore, non-imitative and geometric. Elements from nature imitate natural forms, and hence are primarily non-geometric. Elements from art, being mechanical, are meaningless or non-ideographic; those from nature are in early stages of art usually a.s.sociated with mythologic conceptions, and hence are ideographic. All decorations may therefore have four dual cla.s.sifications, as follows: First, with reference to method of realization, as plastic and flat; second, with reference to derivation, as mechanical and imitative; third, with reference to plan of manifestation, as geometric and non-geometric; and, fourth, with reference to the a.s.sociation of ideas, as significant and non-significant.
I have found that the ceramic art, having acquired the various elements of ornament, carries them by methods of its own through many strange mutations of form. The effect upon life forms is of paramount importance, as is indicated by the following broad and striking generalization: The agencies of modification inherent in the art in its practice are such that any particular animal form extensively employed in decoration is capable of changing into or giving rise to any or to all of the highly conventional decorative devices upon which our leading ornaments, such as the meander, the scroll, the fret, the chevron, and the guilloche, are based. It is further seen, however, that ideographic elements are not necessarily restricted to decorative or symbolic functions, for the processes of simplification reduce them to forms well suited to employment in hieroglyphic and even in phonetic systems of expression. Such systems are probably made up to a great extent of characters the conformation of which is due to the unthinking--the mechanical--agencies of the various arts.