Ancient art of the province of Chiriqui, Colombia Part 10

[Ill.u.s.tration: Fig. 168. Bottle with arched panels and geometric devices--.]

Somewhat similar also in general effect to the last example is the work upon another important series of vases. Instead of the simple meandered or zigzag arrangement of parts, two of the dividing lines of the zone run tangent to the neck of the vase on opposite sides, forming arched panels and leaving upright panels between. In the example presented in Fig. 168 the arched areas are filled in with lattice-like arrangements of lines. In others we have dots, checkers, and varied geometric combinations, and in very many cases the figures are derived from life forms. The same may be said of the devices that occupy the s.p.a.ces between the arches. The piece shown in Fig. 169 exhibits a somewhat more elaborate treatment, but the motives and arrangements are much the same.

These vessels are peculiar in the treatment of the ground. The entire surface is red, with the exception of narrow bands of light ground color, which outline the arches and encircle the periphery. In other cases these bands are red, the remainder of the ground being light.

Series of lines are drawn from the lower border of the zone to the center of the base of the body.

[Ill.u.s.tration: Fig. 169. Bottle with arched panels and elaborate devices--.]

[Ill.u.s.tration: Fig. 170. Vase with rosette-like panels--.]

[Ill.u.s.tration: Fig. 170_a_. Ornament from vase shown in Fig. 170.]

In a small group of vases we have a radiate ornament within the arches and in a few cases the arched lines are continued down around the base of the vessel, forming vertical circles in which rosette-like designs are formed by repeating the radiate figures in an inverted position below the peripheral line. The elaboration in these circular inclosures is very remarkable, as will be seen by reference to the three examples given in Figs. 170, 171, and 172. In the first case the peripheral line is a red band nearly one-half an inch wide and the rays appear in groups above and below it. Within the four broader black rays (Fig. 170_a_), which are the inters.p.a.ces or remnants of the ground, groups of lines have been drawn, in most cases curved at the inner ends like an opening frond and accompanied in all cases by series of dots. An examination of a number of vessels shows various degrees of convention. It is clear, however, that these devices, showing curves, hooks, and dots, are not of technical or mechanical origin, but that they refer to delineative originals of which they are survivals; but we must remain in the dark as to what the originals were or what was the precise nature of the idea a.s.sociated with them in the mind of the decorator. Another question refers to the arrangement of the parts of the design in the five preceding figures. The distribution of the designs is a matter of great interest, and much may be learned from a close study of these specimens.

[Ill.u.s.tration: Fig. 171. Vase with rosette-like panels--.]

[Ill.u.s.tration: Fig. 172. Vase with rosette-like panels--.]

Horizontal zones appear in the ceramic decoration of all countries, and result, no doubt, from technical causes; but the division of zones into compartments of peculiar shape is due to other influences. I believe the peculiar arched arrangement here seen results from the employment of plastic features, such as handles or life forms. The ancient races were accustomed to conceive of the vessel as the body of an animal, an idea originating in the a.s.sociation of mythologic conceptions with art. The head and the tail of the particular creature thought of were attached to opposite sides of the vase and consequently interfered with the original zonal arrangement of the design where it existed, or where it did not exist the sides were filled with devices representing the markings of the creature's body. The decoration now consisted of four parts, two in the round or in relief and two in color, the former occupying small areas and the latter wide areas, as seen in Fig. 173. The same result would spring from the use of two handles, such a common feature in this ware. The lateral s.p.a.ces reached from the periphery to the base of the neck and were most readily and naturally separated from the plastic features by lines extending across the shoulder tangent to the neck and forming arches (Fig. 174). In time the plastic features, being difficult to manage, would gradually decrease in boldness of modeling and finally disappear, leaving a s.p.a.ce upon which the life form could be symbolized in color (Fig. 175). Now it happens that in this collection we have a series of examples ill.u.s.trating all stages of this change, the first, the middle, and the final steps being shown in the above figures.

[Ill.u.s.tration: Fig. 173.

Fig. 174.

Fig. 175.

Theoretical origin of the arched panels.]

[Ill.u.s.tration: Fig. 176. Vase decorated with conventional figures of alligators--.]

In multiplying these vessels the original forms and a.s.sociations of decorative features are necessarily to some extent lost sight of; the panels change in shape, number, and relationships; and devices originally appropriate to particular s.p.a.ces are employed indiscriminately, so that the uninitiated see nothing but confusion. All devices are delineations of or have more or less definite reference to the creature or spirit a.s.sociated with the vessel.

[Ill.u.s.tration: Fig. 177.

Fig. 178.

Portions of decorated zones ill.u.s.trating treatment of life forms.]

[Ill.u.s.tration: Fig. 179. Vase decorated with highly conventional life forms--.]

I will now pa.s.s over the many hundreds of pieces with designs too conventional to furnish a clew to the original animal forms, yet still suggesting their existence, to those in which the life forms can be traced with ease or in which they are delineated with a much nearer approach to nature. The manner of introducing life forms into the panels of the encircling zones is ill.u.s.trated in the following figures. In the vase shown in Fig. 176 there are four panels, two short and two long, separated by vertical bands. The short panels are black, but the long ones are occupied by rudely drawn figures of alligators, some of which are very curiously abbreviated. At the right hand in the cut we have simply the head with its strong recurved jaws and notched crest. The princ.i.p.al figure at the left is a two headed alligator, the body being straight and supplied with two feet. The ground finish of the decorated band is in the light gray tint and the alligator figures and vertical septa now appear in that color. The ground of the remainder of the surface is red. It will be seen that in this case the panel outlines are rather elaborate and that the neck and base are striped in a way to enhance considerably the beauty of the vessel. Additional examples of animal devices are given in Figs. 177 and 178. The significance of the curious figure seen in the first is not easily determined, although we do not hesitate to a.s.sign to it an animal origin. There is a suggestion of two sitting figures placed back to back between the upright serrate lines. In the second piece, which is from another vessel, the s.p.a.ce between the serrate lines is occupied by a sketchy figure which, in the phraseology of heraldry, may be likened to a monkey rampant.

[Ill.u.s.tration: Fig. 179_a_. Design from vase shown in Fig. 179.]

[Ill.u.s.tration: Fig. 180. Vase decorated with highly conventional life forms--.]

In Figs. 179 and 180 I present very interesting examples in which the arched panels are used. In the first the compartments are occupied by a favorite Chiriquian motive, which consists of groups of lines curled up at one end like unfolding fronds. The whole group represents a very highly conventionalized animal figure (Fig. 179_a_). The devices occupying the upright panels take the place of the animal heads shown in several preceding figures. In the arched panels shown in Fig. 180 we have the frond-like motive treated in a manner to make it pretty certain that a reptilian form is intended. These figures are fully and systematically presented in a succeeding section.

Many of these globular vases are unusually handsome. The polished ground is red or is varied with stripes or panels of the whitish slip. Over this ground the whole surface was painted black and then the lost color was employed to work out the design. The coiled figures were produced by drawing the lines in the lost color. The inters.p.a.ces were then roughly gone over with the same pigment in such a way as to leave the figures inclosed within rather uneven black borders. The presentation of these ornaments brings me naturally to the consideration of a number of very puzzling forms which, if taken alone, must inevitably be referred to vegetal originals. In Fig. 181 we have a handsomely shaped vessel, finished in a polished red ground and decorated in the usual manner. In the main zone--here rather high up on the vase--there is a series of upright figures resembling stalks or stems with scroll-like branches springing from the sides. The stalks are probably the septa of the panels and the leaves are the usual reptilian symbols. About the widest part of the body of the vase is a band of ornament probably representing an animal.

[Ill.u.s.tration: Fig. 181. Vase decorated with highly conventional life forms--.]

A still more remarkable ornament is shown in Fig. 182. The decorated zone of the vessel from which this is taken is divided into three panels, each of which contains stem-like figures terminating in flower shaped heads and uniting in a most remarkable way animal derivatives and vegetal forms. I am inclined to the view that here, as in the preceding case, the resemblance to a vegetal growth is purely advent.i.tious.

[Ill.u.s.tration: Fig. 182. Decorated panel with devices resembling vegetal growths, but probably of animal origin--.]

[Ill.u.s.tration: Fig. 183. Example of vase of unusual shape--.]

[Ill.u.s.tration: Fig. 184.

Fig. 185.

Examples of vases of unusual shapes--.]

In striking contrast with the globular forms just given are the angular outlines presented in the following ill.u.s.trations. The first is flattened above, the body being much expanded horizontally and having a sharp peripheral angle. Upon the shoulder, occupying the places of and probably standing for animal heads, are two cruciform nodes, about which the scroll-like decorations of the upper surface are coiled. We see by this that in the mind of the potter a correlation existed between the plastic and the painted devices even in these conventional decorations.

The second ill.u.s.tration represents a neatly finished bottle, with upright sides and conical base, upon the shoulder of which minute animal figures are perched. The painted design is nearly obliterated. The third example is unique. The sides are upright and the bottom is flat. The ornament occupies the entire surface and is divided into two sections or zones by a red band about the middle.

[Ill.u.s.tration: Fig. 186. Double vessel with high arched handle--.]

Complex and compound forms are comparatively rare. A double vessel is shown in Fig. 186, and a second, varying somewhat from the first in shape and ornamentation, is presented in the succeeding figure. Vessels of this form are always small, but are neatly constructed and finished with much care. The strong handles are more or less arched and connect the inner margins of the two lips. The bodies of the twin cups are closely joined, but the two compartments are not connected.

[Ill.u.s.tration: Fig. 187. Double vessel with arched handle--.]

It seems impossible to present a satisfactory series of the plastic features characteristic of this group of products without extending this paper inordinately. Handles, legs, and life forms are varied and interesting; they are not so boldly treated, however, as in some of the other groups. This is a result perhaps of the unusual degree of polish given to all parts of the surface preparatory to the application of designs in color, the processes tending to subdue and simplify the salient features.

[Ill.u.s.tration: Fig. 188. Vase embellished with life forms, heads in relief and other parts in color--.]

With reference to life forms it has already been pointed out that the painted figures generally imitate or typify animal forms, and it is important to note that these figures are in very many cases used as auxiliaries to plastic features in the development of particular conceptions. This is shown to advantage in Fig. 188, which ill.u.s.trates a small, well formed bottle, having two large human-like heads attached to opposite sides of the body. There are no other plastic features, but the heads are supplied with arms and legs, rudely expressed in black lines, which are really the inters.p.a.ces of the lines drawn in the lost color.

These painted parts occupy the zone usually devoted to decoration and, as will be seen by reference to the cut, resemble closely the radiate or meandered figures seen in vases of the cla.s.s shown in Fig. 167. The arms are joined to the lower part of the head and extend upward to the neck of the vessel, where they terminate in rudely suggested fingers. Rising to the right and left of the arms are legs terminating as do the arms.

A double row of dots is carried along each member, and thus we have a suggestion of the relation of the dots and dotted lines, seen in more highly conventional forms, to the markings of the creature represented or symbolized. The grotesque faces are covered with lines which follow the forms as if imitating markings upon the skin. Another example, equally suggestive, also employing an animal form, is shown in Fig. 189.

It is a cup, mounted upon three feet, which has attached to one side the head of a peccary, modeled with more than usual skill. The ears of the animal appear at the sides of the vessel and the tail is opposite the head. The lines and dots seen upon the head are carried along the sides of the vessel as far as the ears and undoubtedly represent the markings of the animal's skin. Behind the ears the markings are different in character and purely geometric. A view of the under side of the vessel is shown in Fig. 190 and ill.u.s.trates a treatment characteristic of the tripod vases of this cla.s.s. In other cases, instead of fixing the head of the animal upon one side and other members of the body upon other sides, two heads, or two complete creatures, are placed opposite each other.

[Ill.u.s.tration: Fig. 189. Vase modeled to represent a peccary--.]

[Ill.u.s.tration: Fig. 190. Under surface of vase shown in Fig. 189.]

[Ill.u.s.tration: Fig. 191. Small vessel with human figures in high relief and geometric color decoration--.]

I present next (Fig. 191) a piece in which there is no recognizable relationship between the painted and the plastic features. It is a small tripod cup with upright walls, upon which two characteristic Chiriquian human figures, male and female, are fixed. The painted figures upon the sides of the vessel are geometric, but refer possibly to some character or attribute of the modeled figures or are the survivals of figures belonging to vessels of this shape or style before the life forms were a.s.sociated with them. The legs, however, so far as can be determined, are not related to the human motive, as they are modeled and painted to imitate the heads of alligators.

I shall now present a few shallow bowls or pans mounted upon tripods.

They vary in dimensions from a few inches in diameter to a foot or more and are strongly made, symmetrically formed, and neatly finished. The polished surfaces are mainly red. The designs were executed in the usual way in the lost color, upon a black ground, and are confined chiefly to the exterior surface. The alligator is the favorite motive, and in a number of cases is quite graphically, although still conventionally, rendered. As in the preceding examples, the animal heads represented in the legs do not always correspond to the creatures embodied in the painted decoration.

[Ill.u.s.tration: Fig. 192. Tripod cup, with figures of the alligator--.]

In Fig. 192 we have a representative example of moderate size and ordinary finish. The decorated band is divided into panels, three of which are long and contain figures of the alligator. The other three are short and are filled with conventional devices, related perhaps to that animal. The legs are apparently intended to resemble the heads of alligators. A large piece, nearly twelve inches in diameter, is very similar in shape and decoration, but the legs resemble puma heads.

The specimen shown in Fig. 193 is extremely well made and differs decidedly from the preceding. The sides are upright and the lip is recurved and thick. The legs represent some animal form with thick body, eyes at the top, and a tail-like appendage below that turns up and connects with the side of the body. The form of the bowl is symmetrical and the surface carefully finished and polished. The exterior design is divided into panels, as in the preceding case; the figures are simple and geometric. The inside of the upright portion of the wall is decorated with vertical lines and bands and the bottom is covered with an octopus-like figure, now partially obliterated.

[Ill.u.s.tration: Fig. 193. Large shallow tripod vase, with geometric decoration--.]

The remarkable example shown in Fig. 194 ill.u.s.trates a number of the points suggested in the preceding pages. It is a large bottle of the usual contour and color, mounted upon three high legs, which are slit on the inner surface and contain movable b.a.l.l.s of clay. Two handles, placed at opposite sides of the neck, represent human or anthropomorphic figures. These figures and the neck and base of the vessel were finished in the red slip. The broad zone extending from the neck to some distance below the periphery was finished in the gray slip, with the exception of the frames of two panels beneath the handles and the foundation lines of two large figures of alligators, which are in red. The surface, when thus treated, was well polished and then a coat of black was laid upon it, and upon this details of the designs were drawn in the lost color.

The figures of the alligators exhibit some striking peculiarities. The hooked snout, the hanging jaw, the row of dotted notches extending along the back, and especially the general curve of the body are worthy of attention. These features are seen to better advantage in the series of vases presented in the following section.

Belonging to this group are many whistles, needlecases, and rattles, all of which are described under separate headings upon subsequent pages.

[Ill.u.s.tration: Fig. 194. Large bottle shaped vase, with high tripod and alligator designs--.]