ECORATIVE ARI DRATIVE ACT Digitized by the Internet Archive in 2008 with funding from IVIicrosoft Corporation http://www.archive.org/details/abstractpatternsOOplumrich 7^f/^r/7S an^ ■"^rfroc /^/vmer <^M^^^ /■ U Ui^.^ AflSIKAOT PATTJSRilS AND I^IH OKiiAilOii By vlica Gertruda Jltunraar B.L, THESIS bubmitted in partial op.ticl'notion oi the reiiuiroGierits lor the de^croe of j)4Ast>::r or Aivta in DiSOOIulTIVS DiiOICrll in the GHADUATi: DIVISIOii ot the UlilViiKdl'n Ui OALixuIJUA April 26, 1916. TS- Api> roved Instructor in Charge ijepOBitad in the University Library C j^ate Librarian DECORATIVE ART GIFT Chapter I:- Introduotory: ijefinitlon of Lesign: ItD main divisions: its laws: its formo. Chaptor il:- Tne oreation of jibstract pattern ns dovelopod through symbol iam or auperstition (nysticism); throui^h centi- meiital litv.u or auatons restiicting tlie character of ornauent;: tho pla>je oi the Ahetracjt £-3 the highest form of leoorativci art, treatment of its subtle qual- ity: oodorn note of iibstrnation in desi^jn aa related to a Binailfei tendency in the other arts: modern vol- imtaxy desire t.o create Abstract piitlern: methods uiied in itt devslcpracnt. Chapter III: -Abstract p?.ttern in raodorn Api.>lied deaigiu in jewell- ery: in pottery: in uriental ?irt : in Anerioan designs: necessary oh-inges in bringing an Abstract ornament from llure to Applied state: conclusion. '^3f LIST OF £LA!CB3 Plate I flat« II Plate III Plate IV Plate y Plate YI Plate VII Plate VIII Plate 12 Plate JL Plate XI Plate XII Plate XIII Plate XIV Plate XV Plate XYI Plate XVII Plate XVIII Plate XIX Plate XX Plate XXI Plate XXII Plate XXIII Plate XXIV Plate XXV Plate XXVI Plate XXVII - Abstract MotlTe Within a Iriangle ((Title plate) Peaigned by Alice Plommer - Lotus Motives . Mohaounedan Glazed ii^artliennare Tile - Grreek Anthamion Forms - Greek Ware and Meander MotiTes - Broad Treatment of Old Velret Design - Florence. Baptistry. Inlaid Marble Pavement. - Greek Anthemion and Swastika Pottery Design - From a Japanese Stenoil - Persian Pear Forms - iilgyptian Lotus Forms - Arabesques <- Pattern Inlaid in Marble in a Fifteenth Century Pavement at Cairo - Abstract Pattern Designed by Alice Plummer - Abstract Pattern for Textile Designed by Alice Plunmer « Different Arrangements of a Simple Motive Designed by Alice iPlummer - Other Arrazigements of the Motive Used in Plate XVI Designed by Alice Pluosner - Abstract Pattern Designed by Allrik^ Pltumner - Abstract Border Pattern Designed by Alice Plummer - Abstract All-Over Pattern Designed by Alice Plummer - Abstract Pattern fo Be Worlked j^ut In Tooled Leather I? Designed by Mary r. Patterson - Abstract Wood-Block Pattern Abstractly Applied Designed by Alice Plummer - Japanese Stencil - Jewellery Designs - Old Chinese Temple Kug - Japanese Silk - "The Wave" by Hokusai '.c i^ ^ 8 2lBt0 XZTIII - Xhe Viave, A Stenoll Plate JJLUL - Japanese Textile (Silk) Plate XXX - Japanese Stenoll Plate XXXI - Japanese Stenoil Plate XXXII - Japanese Stenoil Plate XXXIII " Abstract Bell%haped Oounterohange Designed by Alloe Plummer Plate XXXIY - Abstract Bell-Sh£ped Counter change He versed euid Inverted Designed by Alice iPluiaiaer Plate XXXT - Abstract Design in a Modern 3ilk Plate XXXYI - Abstract Pattern Designed by Alice Plmoraer Plate XXXYII - Abstract Border Pattern Designed by Alice Plxunmer Plate XXXVIII - Abstract Design from a Venetian Sillc j^abric of the Fifteenth Century (A Xail Piece) basA iK^ A&t^M'JjX . O^' 1, «. ^ .^ r ii r ; c«--. X . .i.j. Chapter I introductory Ther« are two distinct divisions of ijoooraulve xieslgn. xhe are (1) i'ure lioslgn which obeys the x'rinolples of order and ai at Beauty, and (£) Applied x>eRign which - in adaltion to the s ideals - is dependent upon rllmeoe. Material, and Constructior All DeslRn has certain deep-rooted prj-noiplea. J?hese are 1 Laws of Order,- hhythm. Harmony, and 3alftnoe. They are applii to the Tones, Lleasures, and ^hapcts of i>eeign. secondly is th« hope for beauty which is in underlying eitn of all l^esi^jn. a ' may not obey ell the Laws of Order, but it mist be obedient t' least one of them, and the desire for aesthetic pleasure io a. present. Abide from obeying these principles , Design nay vary in i'oi But here a^ain we encounter Order, in Design three i*ure jj'orms oe considered,- liiaturalistlc, Geometric, and Abstract. naturalistic Design bases its characters on plant or animal forma, it depends for its beaaty on its obedience to the abov mentioned laws, and on its suggestion of charming nature which more or less conventionalized according to the desire of the De'.3lgrer. (flate II, the Egyptian Lotua). Geometric Design hns for Its bnses tho straight line, the tr: angle, the square, the circle, the scroll, et j, , as its name im- plies,- any 'Geometric form or forms. It depends for its beauty on Its odedlence to the above laws, on its combination of {jeomel forms or interesting repeat perhaps of only ono form, and espec- ially on tno t^rlnolple of Kxaotneas which is one of its most ese tial features, (i'late III, a aohonmedan {rlazed tile). ui a (2) Abstract I>eoign difiers from either of these in that its foun- dation to the observer ( if not always to the l*esigner ) is laid merely on fancy. It depends for beauty and appeal solely on its Principles of Order, and its faiiOiful suggestion. It depends not at all on any definite relationship which other designs have to some concrete chape, /or a i'ure Abstract Design suggests no real rolp.uionship to an^ natural or geometric form In its unit. (Plate iV, the Greek Antiiemion) . xiowever, if it be used in an all-over pattern, the design is planned at regular intervals which gener- ally have a geometric basis. besides the above pure forms of Design, four otheis may be consiiored Khich may all be used as separate units in complex motives:- (1) Baturalistic and Georaetr44, (2) islaturali stic and Abstract. (5) ^reoraetr*4 and Abst,ract, (4) Heturalistic, Geonetric, and Abstract. Ihere are many examples where iHatural and Geom- etric are combined in the same single unit, that is, the nat- ural source is most apparent but tho design is planned in a perfectly geometric way, (Plate V, the Jreek iieandor and Wave moti^res). jnuch primitive ornament is of this type, oa for instance, tho Geometric period in anrly Jreok Art, All of the above complex forms can be used where separate units are employed to make up a motive, a natural unit may be used with an abstract one;- (Plate YI, Italian Velvet pattern). A natural unit may be used with a geometric one;- (Plate VII, In- layed liarble Pavement, in the iisptistry, rlorence). a geometric unit may be used with an abstract one:- (Plate VIII, Greek Aa- i themion and iiieander rottery design), a natural unit may be used with a geometril and im abstract one;- (jr^late 12, Japanese stencil of dirds and Abst^tcted wave forme in a Circle) . (3) i'rom my observation a luxlt oould noTer be Haturelietic and Ab- streot at the sf^me tine from the Tery nenning and definition of Abstraot Design. Haturelistio Design oan approach the Abstract by the road of Convent ionallxat ion. As the Maturallatio unit becjones more and more Conventional, it gradually loses its more Haturallstlo ear-narks , emphasizing instead its obedience to the LawB of Order, relinquishing little by littleitfca natural ohfireo- terlatios. Li the design be developed further these finally dis- appear or become so changed in expression thnt the suggestion of nature is completely obliterated. hen this condition is arrived at, the design is Abstract. It is Pure Abstract,- but until this time, through its process of evolution, it would seem to be a Conventionalizofi iiaturaliatio Dosign. To follow the same reasoning, a unit would not be (Jeometrio and Abstratt- lJ"or fis long as there is the direct sTiggestion of Geomet- ric shape, there cannot be Abstarction,- and when Abstraction is arrived at, the geometric is lost and the design purely Abstract. (4) Chapter II In disouj-alng the Creation of Ahetraot Patterns, there tppeer to be several widely differing ways In whloh they may be developed. These can be roughly divided Into three groups :- I. Those ocourrlng through the repeated use of a symbol among prircltlvo peoples. In aaiiy Instaaees thla symbol becomes so changed tnrough the oenturlec that it entirely loses its original charctfeer. Ihon Its symbolic meaning is often gradually forgotten and the forei la used only for Its decortitlva feature. In some of these evolved stages It may oe quite abatraot. II. Those occurring through the nan -made lavs of certain coun- tries which limit the types of design for sentimental or other reasons. Through thla limitation in iiohemcedan ooimtries, there has been a creation of very beautiful Geometric designs and also of many Abstract patterns. III. Those oocuzrlng through the modern desire to express the Abstract without its years of evolution in successive stages from the iiaturalisilo. The first group refers us back to the vex^ Infancy of 4ile human race, iiistorians consider that Art was bom simultaneously with Religion. This would lead one to believe that the first art was symbolic,- and the most nnoient forms of decoration seom to con- firm this, although the religious element was very slight in the earliest times. It seems rather to have consisted of certain rites which were enacted in the hope that edible animala v.ould always be plentiful to supply them with food. We have come to believe tht* the animal drawings on the walls of caves of the late quat- ernary jeerlod were made In the same spirit, imlmal forms were i (5) also oarved on bone iaplemGnts whioh were carried by the hunteirs, Ihese earliest Icrms of syaibollsm are interesting to keep in cind in onneotion «/ith the evolution oi similar iottnt into Abstract one&. I believe that the first appehranoes of Abstract x«eEitpi are in evolved fores of syrabolic ohara^tess. "usually the symbol as first drawn is very naturalistic, and uay re-ttoour in tho sane general form for several centurieti with only a few variations. As time advances , however, the symbolism spreads to other tribes and net- ions (especially if they are conquered by tho first onej. These tribes may act know the full significance of the symbol and as likely they may not have the original natural forn in their coun- try from which to ojpy directly, Ihis necessitates a copying of the design itself from its appearances on some Implement which has come to them from the conquering tribe, or in some other similar way, or even drawing it from memory, ..hen e design ie copied by a primitive person who is ignorr-nt of either its symbolic or its natural significance, or both, the lesulting form is almost in- variably different from the original motive in some essential detail. Ihua this copying often continued from tribe to tribe through many centuries,- tho original Torm and symbolic meaning often forgotten in some lands, and in others never Imown. General ly i,he symbolic meaning long outlasted the original f onn. Ihus such motives sa the Persian pnlmette or pearshaped dosigx^^aag developed through the ages with varied explanations of its symbol- ic meaning. Ko one ioiows certainly what this form was derived from, although there are many theories and widely differing opin- ions regard ing it. The signifioanoe as told to me by a x'ersian gentleman is whimsical in the l«8t degree, ther are two general forms of the palmetto,- one which has an upright point and the i i J ,^ (6) other wbioli has a ourred one, tie said thet the first was a sym- bol for "man" who, beoause of his strength, stands str^iijat; the second was to represent "woman" who is more delioately molded and not as.^able to undergo rough hardsnlpil. (Thus she 1b snown in a graoeful ourve). Another interesting explanation of the oarved form is that it represents the stnap of a olenohed fist whioh the Peraians^ (who aould seldom sign their name) used in plaoe of a cross or thumb-print as a oignnture to much of their written mat- ter, it is said that this print. Hie that of a thumb, is never the s.me for two persons and that old uqo doos not affect the in- dividual shape of it either, Ihis explanation seoma f airier reas- onable, ror it is natural that when a desi^er made a beautiful rug or otner object he would wish to afix his signature to it, or even to weave his sign many tiues ropoated through the surface of his pattern. i3ut another o:£planation seeras eiiually possible :- that the form as now seon is an eyolutio n of the leralan '^ ree of Life I original source also uncertain) with its symbolism of Im- mortality, xiowever the forms originated the fact reraaims that many of these shapes are quite abstract now. (Plato X, Persian Palmettea) . aometiines the aymbolic significance is forgotten and the form has so evolved that we only recognize its origin \'5h9n confronted with a number of the Intervening stages, I'his is true in certain uses of the iigyptian Lotus, As the groat symbol of the aun in which was all life and immortality, the Lotus was one of the most important motives in -Egyptian Art. it first appanred in design in groups of two flowers tied together by the stalks. It is seen thus on Prehistoric pottery at Koptos, and on the earliest tombs. But through the centuries this form boonme so changed - the orig- inal apparently forgotten - that the resilting form in the iVIIith dynasty is decidedly abstract. (Plate XI, Lotus forms). i I (7) There are many other instcnoes of abstract design developing in this way. Another example is the Greek Anthemion. The ques- tion as to the inspiration of this motivo has aroused much dis- cussion, .alter Jr^ne and other well-imown designers have called it the "honeysuoicle" border. Owen Jones has faaid that it appears to gave been a clever series of crush strokes which perhaps sug- ge^tied sonething more after they were drav.n. iiut W.H. Goodyear and Flinders i?etrle have cp.refully shown how it undoubtedly came from the Lotus. The explanations and illustrations which they give of successive stages in its development into an independent motive seem to explain its origin quite conclusively, uhethor their theory is correotorr whether the motive was a series of brush strokes , or even derived xrom the honeysuckle , is o^ course only of secondary interest in this study of Abstract jjbsign. The fact remains that the pattern itself is purely abstract and I be- lieve, ass G.W.Khead does, that it ie "perhaps the most perfect example of purely ebstiact omcciont in existence", (r'letes IV and Xill, the Anthemion). The ^Jithemion has in these examples entire- ly broken away from the Lotus form and has also oeen striped of any symoolic meanir^. it is purely decorative and of course its possibilities for excrciaing the imagination of the observer only intensifies its value as a design, i-or it does vaguely resemble a flower form,- and still nono of the elements of a real flower are there. Th« second gruop , that of ..bstraot iiesign which has oooured through the influence of the sentiment of certain peoples , has appeared in u variety of ways indiff6'ar»Blit lands. It will be e- nough to mention one well-known ixistanoe of this,- the effect of the Koran on .vrab Art. The Koran was compiled and written in the Gth Oentury following ^■^ the death of ^ohammod. Jjaon^ the strict rules^laid down in It was the absolute prohibition of t he re presentation of anything in l^y^ either heaven or earth. IJo living form olther human, animal, or vegetable oould be used by the iiohaonedans in decoration, but this very limitation resulted in a profusion of geometric and lat- er abstract forms. Thesa influenoea ere traced best through the Art of Arabia, jj'or the Vtrabien Art is purely Johf^mmedan. After thiir rjori^uoots of northern Africa, the iiitiabitnnts there of Honan and Greek descent united with the Artibinns under the Lioaannodan religion and bocane Icnown as Moors, in the early eth century tae iioors wore aent by the Arabians e cross the itiediterrtmean to opain to help overthron the Visigoths. In the 11 th century the iioors oattbliahed the KinQ'don of Grenr.da which was finally destroyed \ij the Spaniards in 1492, V.ith this later period vce aaoociate the types of design known as /irabesiiuo, Araoicque, and ^orecCiUe which reached its highest developiaent in the Alhanbra. ..raArabian and Moorish designers showed extrene sliill in spite of their limitation in subject /natter, The intricate lattice pat- terns with cleverly concoiled plan of execution, tio inlaid mar- ble oounterohange patterns, and other forias of desijjn ( soo Plate III ) indicate an extreme degree of artistic "CiiSte and shows their art to be more consistently ornamental than that of any other race. Because no living forms oould bo represtmted, and geoaotrio deS^gn did not entirely satisfy their deuire, their beautiful and sacred alphabet was also employed in design. Later still nbs tract motives appear and are often used in conjunction with the insoription forms. Ihis 4s especially seen in iirabes^iuea. Plate XII gives three examples of Arabitin design which are more abstract than geometric, But there is a decided air of formalism about them. In x'late ill! an arabesque motive is shown which has gotten away from the strictly formr.l idoa to a freer expression, -/n ,-.■»- ^ ,- TVV rtmA TYTT T •? 1 1 n o +:>•»'+. o PlatsB MX and 2XS.I illustrate a modem conception of the Arabian type of abstraat omaniont. Before discussing the third or rcodem method of producing ab- str&ct design one muot cox;L;ider tne aoQtract ijocittho standpoint / ■-■■ of its appeal, Oomo Eetural or Geometric basis eeoms necessary for txny design oTen if It be Abstract. For If tnere is nothing in the y-.ttorn *;c arouse one's fancy, nothing which conveys any meaning, the design io seldom desirable, iiut the meaning mr.y be fantftstic,- it i^ust bo something vihlch seta the imagination to v.orjtlng - in its very subtlety lies one of its greatest charms. It is for this roceon thet Abstract design is much more dii'ilcult to produce than Goometrio or HaturHliatlo. For "where the meaning in their saaos is quite easily arrived at, tne Acstract pattern first charms the observer through its laws of order and color harraony. It loos not boldly call your attention to v meaning wnicn ofton ntikes the dosigii's obedience or disooediance to the laws of ordor Inconsioicuotis but rather draws your attention first or ;.ll to those very laws. Its space relationships, its rhythm, and Its bclanoo i.ro its primary appeals to the individual. It Is only after a nomor^t of appreciation of these well-obeyed lav^s thr.t one sees the subtle note of fancy and imarjlna-ilon portrayed in the motive. There is 303e^:hing yqtj faacinating r.bout aa idea which is barely aiiggested: something extremely t ant r. lining about a thought that is liot wholly grasped, V/hen the meaning Is not quite evident, one says, "I wonder just «hat that does mean' or 'I seem to know whAt that is but I can't quite place it,- I an sure 1 know what it isi** ihis element of mysticism is ever present in the highest : forms of all Art, I believe. It Is this same inscrutable quality that has made the Mona Lisa rank with the greatest of all paintings. So also the greet Sphinx at Gizel has been the wonder and ohrm of civilization for centuries. Its imanalyzed qualities,- what (10) it nj«ant - why It was out there in the desert the sentinel of the ages - caught the vsorld in ita mysljioism. ilow that it has oeen partially exoevated and we find thct it was oarved out ol' rook to aot as guard over a little temple of wurship, the nystery of the Jphi^a: has been explained end a good share of its former ohann has gone. ^^^ iiow this little tantalizing unanswered quality is also present in Abstract design, and it is this I belftAve whioh makes the Abstract the highest form of purely decorative art. When the artist of today creates Abstract design he does so be- cause that ia his ain. In the past thiu wa^ not i/rue. The Abstract patterns which have occasionally occurred in historic design became abstract, as I havo tried to show, either through a long evolution and inadvertant change from the original ntLuralistio or aynbolio motive, or oecause of sone oeuticient, ouatom, or Iuyi of certain different peoolos. The independent desire of the .cosigner was sel- dom, if ever, directed to\;ard actual i-.Dstraction in deooration. As a country growe in an intclloijtutl way the people care for end create arts *hich require a greater disconmont and deeper feel- ing to anjirecicite, I'he ignorant or primitive peoples are well ]:?leas- ed with their crude music, rude attempts at decoration, and little or no litareture, it is only as a nation beoones civilised that the peo- ple care for Abstraction,- ei-her in Jusic, Literature, i^ainting, or Design. liusic is a good instance wherewith to illustrate this fact. "Ve know that the jdusic of durope bas undergone great changes since the time of the wandering minstrels. Thus in Germany it has advanced from the early diddle Ages,- as hi've the other Arts and Sciences - until modem tiraes ofitiT aoaern times and Wagner whose pperas are the delight of the music-loving world, modern music has certain quelities which closely relate it to the Abstrract in Design - not that the music itself could be called Abstract, for Wagner is called a "realist" - there is more and more of the intellootual preaont and cm inoreasing field for the imagiiiation, iruly great musio baa inueiiBe opportunities for ici&ginatlou as haa Abstract design, and in the oaae of both there is something deeper than a more ploauing of the 070 or ear. Jhere is an inte^leoiual pleasure as well. lior is this too apparent in either ofse. I or unless one is attentive and In a receptive mood the meanp ing is often loot, end the creation of the Artist or Composer may be quite unappreciated. In a Dramatic way the i^artheneias given at the University of oaliioiXiic shov h tendency toward Abstraction. The subj-^ct - the awakening of wontanhood - is the same in all of them, but the inter- pretation is always diflorent and purely imaginative. oo itodern design, as the other Arts, has a ierr.ing the same way, iieoo ration ie seldon purely iiaturallstic now; it is usiaally either quite Joi.ventiont-l or Abstract, ( in dec&defit periods of Art , i>esign often beoomes jo naturalistic that theie i£> little chejico for the Imagination or fancy to play, x'his is espooially true in the itocociSo ^'eriod in /rtnoe. The fee- toonod bouciuote f very natui-al lookiiitj flowers, b^:skets, bov/kiiots, tsto, - while they htve a oei'tain ohtm to the untrained eye - repulse the person who dolightu in the good oonpositlon of lines, spots, areas ajid has *i feeling for rhythm, harBioiv , and uuliince. ) I'here are tviq methods which we may conaider as used by the modern designer in producing Abatrt.ct design, L'he first riethod to be dis- cussed la that in which ono begins with a seetit±lif;^ii.ilbtl?rG43t4nn. i'he Deslguer may absently draw a shape fvhioh ho conscientiously believes is not based on any concreoe form, ijut unconsciously he has been inspired by some thingi His eye is invariably attracted to the motive which he has made because it has a fancied resemblance t or suggestion of seme natural cr geometric source. Plates ilY and iV show two designs which I thought I had created independent of any definite form. But the first one interested me uooause of its sug- gestion of gryphen or dolphin oreaturee, 'JJho second we-s derived directly from a wood narking in the surface of my oak deak. This design also starts the imagination by its peculiar sinuous move- ment of Tvhat seem to be some sort of lower aoiinal f injures. The next rlates, XVI and JCVIi, are very elementary but are Riven to illustrate a few of the various ways that a very simple motive may be used. i*y little "polly-wog" motive, t\B it has been called, was derived irom an ink-blot, it is decidedly Abstract in every detail, yet it has a fancied roseciblanoe to natural shapes. This resem- blance is ■vory slight to be suro, but it is nevertheleso there, - euggeyting the polly-wog to some people and other natural forias to others, Kow it is just this little bit of subtlety which wins for the little motive a place in i/osign, j?late XVIil is also suggetttwe but in this case vaguely of flower forma perhaps, 21v.vij XIX illus- trates a type oi Abstreot desij^n which suggests a Geometric rather tium a natural source. It is, x liiink, a purer fona of Abstract ornament than the others directly preceding. The aeoon method used by the modern designer in creating Abstract design is that of starting with nature and working toward an Abstroet- icn. This is arent 'Aihen ono trioB to u.so tho ^jiittom, iiuch riinor changes as making the design larger or owaller to fit the definite spree in which It is to bo used are, of course, vory comrsoii, oo Atatract r'attern can be diecjuosod, and, in the defining and study of its creation, we find it t o bo th e puioot form of design, - a form which has been seen in hibtorio art since the orrliost times. We leern that pure design is generally characteristic of the more civilized nations and more advanced periods, and that the use of the Abstract is increasing voluntarily now in thf modem xvorld. %e become assured that this desire for purely decorati\e art is a very worthy one, com,-janding the uttention,iab