Documente Academic
Documente Profesional
Documente Cultură
RENE SMEETS
Signs,
Symbols
& Ornaments
Signs,
Symbols &
Ornaments
RENE SMEETS
25B New
YorV
Cincinnati
Toronto
London
Melbourne
First
published
in
paperback
in
'
1982
1975 by Van Nostrand Remhiold
Company
Dutch edition copyright _ 1973 by Uitgeverij Cantecleer bv de
under the title Ornament. Symbool. & Teken
Library of Congress Catalog Card Number 75-2823
ISBN 0-442-27800-4
Bilt
Printed
Ltd
M1P 2E7
161514131211
10987654321
Contents
Foreword
Foreword
In
the beginning
was
the sign.
h /
/W
PLTL
times and
All
peoples
thousands
in all
of variations
it
becomes a
becomes a symbol
The
vertical line
growing
tall;
for water.
symbolizes
man
material.
The
felled
The two great contrasts united in one sign had been adapted
everywhere before the Crucifixion of Chnst; after that time became the
holy symlxjl of Christ, the sign of love and goodness.
it
The swastika was an omamental sign known to the old Chinese, the
Babylonians, and the fvlayas in America.
Fig.
1-1.
shows
knit trilogy.
Man
information
see pictures and news reports from all over the world, "live" and in
few hours to any part of the world. A
large part of the population uses the same letter signs. The only handicap to world communication is the thousands of different languages. A
world language is still far away, but a general international sign language is closer to realization. The increasing world traffic needs badly. International traffic signs for automobiles and similar indications for
trains, airports, harbors, stations, etc., are urgently needed. The sign
color; jet airplanes bring us in a
it
triptych to
to
Introduction
In
early civilizations
guage laden
tent
there
Whether
with
was a meaningful symbolic lanmagic powers. Above and beyond the symbolic con-
was undoubtedly
it
the joy of
rhythmic decoration
itself.
folk art.
In our own time only the Jugendstil was able to create its own ornamental form, in which the undulating line played an important role.
was all a little feeble, however, and petered out in decadent flourishes
that lacked real meaning or impact.
It
it
has only
Our generation,
in fact,
just
Pans
11
Whenever
been able
in
who have
ship's propeller or a
modern
jet fighter,
have the
in
together with nature, which builds crystals, seashells, and struccan show us a way to a new world where form, omament, and
color combine into one indivisible organic whole, a condition which used
to be present in things made by human hands. The problem of ornamentation and decoration preoccupies not only everyone engaged in
the field of design but also everyone who takes a critical look at the
world around him.
is a good idea to study ornament in its original context in order to
understand the relationship between man and ornament and to delve
into the subconscious and the primeval.
In ornamentation
is possible to trace the history of mankind from the
very beginning. Man is as clearly evident in tools and artifacts as in the
great paintings in Lascaux or the ancient writings we are endeavoring to
artists,
tures,
It
it
decipher.
Ornamentation
is at
the
same
came
its
secrets easily.
to paint
river. Was
a woman who made the first symbol for waves in the
form of a serpentine line; was a snake or the curving lines of her own
body that inspired her to do so; who was the "discoverer" of the zigzag
the
it
it
line that has been endlessly repeated and modified? We shall never
know!
Man's need for ornamentation, which has been amply evidenced
through the centuries by all peoples everywhere, can be traced back to
his fundamental bond with the world that surrounds him. Seen in this
light, ornamentation is the natural handwriting of mankind; it comes
from his life rhythms. As soon as he makes his experiences visible,
ornament is created. No other pattern can be created, because man
experiences life and his ties with nature as a movement, a rhythm. The
changes of day into night, the seasons, the throb of his heatbeat, his
And
himself
12
is
part.
we
If
it
it
it
Ornament
finds
two-in-oneness of
its
roots
in
is
the
is
the
mirror.
Ornamentation, myth and symlx)l in the beginning, has been gradusecularized: the finial on the Gothic spire and the rose windows in
the cathedrals of Charlres, Amiens, and Strastx)urg were symbols and
myths. But the misuse and abuse of true ornamentation in the industrial
age is no reason to discard completely.
ally
it
13
PART SIGNS
I.
Runic signs. The ongln and development of runic signs Is not certain:
until about 500 a.d. certain signs were
used In the Germanic countries, first as
Fig. 1-1.
cult
signs and as
letters.
1.
Old Signs
In their
Signs are
for the
house
signs,
ciphers,
in
harbors, on highways,
in cities, etc:
Olympic games,
factory!
firm,
etc.):
ping
means
of
communication.
17
Symbol:
rectly
sign, token, or
emblem
that
learned
it.
Emblem:
munity, etc.
Signal: conveyor of information or of a sign (color,
light,
movement,
gesture, etc.).
Pictograph:
hieroglyphics)
depiction
a kind
in
of writing
real picture.
From the development of cybemetics (the science of communicaand the enormous need for efficient world communication
and information, specializations have been developed in the field of
sign knowledge that have given rise to a great deal of discussion and
tions control)
publicity.
in
theory of signs.
Semantics: that part of semiotics that concerns itself with the definiand explanation of the content and meaning of abstract signs and
sign systems.
Pragmatics: that part of semiotics that concerns itself with the origin,
tion
application,
and
effect of signs.
means
itself
with a particular
its
actual
meaning).
Informatics:
make use of
open the way to a
documentation, which
these disciplines
world language of signs, for which
there is an international need. The enormous growth of world communication and the expanding use of computers make this an urgent necessity.
18
Fig.
sign
role in the
man seems
to
denve
his
tractive design,
name "Johannes
Caesarea.
Bishop Arethras of
bth4
19
men
and
Figs. 1-3
Val
Camonica
1-4.
(northern
Italy)
from
differ-
Age before
2200 B.(
to the Ice Age (roughly the
time of Christ's birth). These drawings
were made from photographs and rubent eras of the Neolithic
.
bings
made by
gewerbeschule
Zurich.
geometric pictographs
They are
illustrating
how
and
his
examples can be augmented by thousands more from all over the world.
with
men
with
riders
other
human
deer
Fig
The
goes back
ers: pedigree
somewhat reminiscent
ters.
Fig. 1-6
WafenrnarVs on handmade
paper A watermark
ter,
is
a kind of mark
dunng
order to indicate
mark) or
money
to
prevent
its
its
its
that
(letis
manufacture
origin (factory
imitation (on
or valuable documents)
Genuine
watermarks are fabricated at the same
lime as the paper by imfwsing the outline
of the mark on the paper sieve The mark
becomes visible on the thinner parts of
the paper where there is less pulp.
H)
and
for this
centuries
b.(
The
first
system
of
Sumerians, 23
circular
shape
of the
place
moon and
in
(y
into
twelve
Thus
2-1-3
If
21-^
20-5
.^
zodiac
wW^
iCT%
^^^
g9
X21-5
OO
tlVr 22-11
2<2.-^
22
2.2-8
23-11
21-12.
vljf 3.^-9
21-
-1
2. Letter Signs
Alphabet
and
and
letters
must be
classified
Roman
capitals,
shown
in fig.
2-1
in
almost
is
The
limitless.
typical
ornamental
letters of
in
style
and
Chinese.
East.
The
left its
The
spirit.
letter
Eckmann was
Otto
Eckmann alphabet
Fig
(b.)
I,
2-1. (a
and
L, F.
H,
and N
examples
of this
German
calligrapher.
The
Letters O. C. G. Q.
Letters E.
T, A,
still
first
(c
and S
Letters
V. (d.) Letters P, B, R, K,
and
23
Fig. 2-2.
53!mS
examples of Islamic
hang on the interior walls of
calligraphy
mosques, often spelling out in large, ornamental forms the word "Allah" or excerpts from the Koran. These examples
show
forms rather
24
Fig 2-4.
monks
is
The imagination
of the Irish
best exemplified
in
the orna-
in ubamun..{>inn>a:^ nnilu mulli legnuul-mlMoni qin pui)ir niiimtr Claris ai uln auo'
finis rft ido* 'ff crar fnnrtij t)ftifli(r jrattta
tuu .Oirrtmin cp^ pilatii ponnfim iiitunnL
6uuiii6)!ilWpoiUtrpilaiii.Oiu)D(mpfi
ifiaradr.
lif
nun naolD. [Haaton aiit gmmt falomoirralomo aui gnnnt tiao tr raah.
toDi aiit gmun obrrti tf nittiiibtrt)
aui gnunt iriTt Hrffit aim gmun Da<
(cb roinaiiuiF
in orftt
gnam oimruitEl)
rfrora inii
gnmanmie itifu 10
DiuucMii at rahani
JltoatBrn graun ctaan
ridjU aim gtauu uunb.
Hetwb But gtnua niO j n team tr*:
uitmeaur Bimuiptiaaanziimltt
1
iiica'
crurr
mamsoiie iiiaoa
Oolmr. Omi
uitnllrr
iffii
manrnii* to
dropl)r
<
mont ff
mana luafr
n^ itfus matrrui
1 Ol'
am
century missal (b
handwriting by Gutenberg.
iit
roiifuinnnt
(inptiiraOint.ftujo?.(tt8aiirfpofinin:if
cm) plniiijm aiimn fjiougtaiu pima ants
orraiit
li
fuir
loCapbai
gnniniorani:iDrJiii
Fig 2-5 (a
ra
floTaptiai ant
grauit OO'
anu iQfiae aiui grauir loartian uid
ctianaiit gtminarbar. fldjaranif
aiit
25
Ornamental
Paul Franck
In
letter labyrlntti,
tensperger
1601.
(b.)
drawn by
Ornamental-
letter
woodcut by
at the
I.
C.
beginning of
Hil-
ttie
18th
century.
Row
"
>
&
in
hym
redyfortocomplayneonReynart
the f oie. Reynart lohed ae be bad
not ben aferd. and beldcbym better than he was, for
he went forth proudly with bis ncucu tburgh the
hyest Btrete of the court, rygbte as be had ben the
hyngee sonc, & as be bad not trespaced to ony man
tbcMlutof an heer.& wente in the mydel of the place
stondyng to fore Noble the hynge. and sayde^6 od
flfT"' yowgrete bonourand worshipl Cher was neuer
feyng that cucr bad a trewer eeruant than I haue ben
)
'
>
'
re-
new
style of
book
intro-
printing.
26
Fig.
2-8
In
the
engraving t)egan
raphy The aim
appear cut
was
be used
to
in callig-
make
This type o(
the writing
letter
was used
27
Fig. 2-10.
veloped circa
Fig. 2- 1
900.
Jugendstil by
Bemhard Pankok,
Otto
Fig.
for
HBCDDeFSBH
abcdefghijklmno
3i3KkmnOPQR
STCUVWXVZ
pqrfstuDwxyz
(SSiSSHIVX
chckrdi^tjciou
S"
^^
aH
"
ft
aljIrH
11""
A-
KaT
VKaTyeMuia
Fig. 2-15.
A Russian poem by
El Lissitski
in
and
and ornamentally
architecture, painting,
graphics), graphically
composed
in
1923.
7i""0" '>Ki)iMy
B nJlyM"
Fig. 2-16.
typographical composition
in
wenscht rc?
..**
de'
la aT
ot
ft^
Figs.
\i<>
e^
ra^
waa
,be* ta
atv
ae^
ut-"*'*"
e<^
n.v. nede rl andsche kabelfabriok
n.k.f delft
typography
for
business purposes.
31
the great
Fig. 2-20.
A page
UNESCO
Schrift,
'
held
in
1561).
1964.
The other
in
1961.
Fig 2-21
letter
composdion by Robert
and White Love
M M fA
Vi Vi Ki
Taipei (Formosa)
It
is
a series ol picture
Fig. 2-23.
A sign designed by
company
it:
"A
Dick Elffers
Company, 1971.
script
full
poem
Bert
to ac-
of streets of
in
our
heart."
ter sign,
composed
of "fashionable" ele-
ments.
34
35
Fig. 2-26. In
b.c).
They
In
elevated to a high
art;
according to a
of
VlE^
^m.M^
Fig. 2-27. Different
i=i
ing.
/y.
<
1^
<
H
nij
X
Z
5g
wo
ib
p.
*w
36
it
the
employees
of Graflstas
designed by
Agnpacion. a
ments
1/
37
3.
Fig. 3-1.
Composite
different signs
from
number of
Symbol Source
of a
tfie
38
Signs
Figs. 3-2
sign,
as
Olympic
figure
in
One of
is
"visual
munications,'
sign)
As a
tional traffic.
It
IS
imperative to have an
international sign
language These
3-2
Games, 1972
Fig 3-3a
pic-
"pictographs."
for
the
Olympic
shows
the basic
speaking,
woman,
carrying, dnnking.
rowing, respectively
circa
3000
and
ii.<
C^ <*-^< V-^
b.
interpreted
in
signs as
restaurant
automat
ladies'
toilet
room
parking
'^^^B^^S
^^S^^B
IIqDPO
^^^^^^5k t^^^^^SS f^^^^V^S
mens room
waiting
room
baggage depot
lost
and found
baggage dispatch
hairdresser
^^^^^SSr
flowers
lockers
bicycle dispatch
general baggage
signed by students.
XA
A E a
m i^SB
(D ^
y^
IZ!
entrance
exit
mens' room
hospital
airport
no smoking
do
telephone
mailbox
drugstore
information
exchange
harbor
hotel
museum
fire
alarm
not touch
office
danger
ladies'
police
doctor
gas
station
station
monument
room
direction sign
B^
Fig 3-6 PIctographic traffic signs along a
recognizable to
all
travelers without
mm
mm
ornamental character.
Fig
3-7
These
simple, expressive,
signs.
41
Fig. 3-8.
all
Cfiina
supranational organizations.
,f:kfcl
CO
Fig. 3-9.
to
came
be de-
into be-
with their
Principal
here:
and
colors,
each
(a.) St.
pall,
couple-close, chevronel:
gusset, tx)rdure, pale:
canton, fess.
(c.)
inverted
pall,
heart shield,
00
Fig. 3-10.
Arms
#|<s)
@*l
^@>'C^
Japanese language that cannot be dione of which \s katachi. is usually transhas a wider meaning. expresses the art of
surroundings to bring about functional and
in
the
giving form to
ones
total
It
It
it
43
All
The refined
Forms and tradi-
movements
life
of the
all
things.
to the 19th
century there were three groups in Japanese society: the nobility and
the samurai (warriors), the merchants in the cities, and the farmers on
The
Each
of these
family coat of
it
the middle
of the
8th
parallels
in
(see
Fig. 3-1
and professions designed by graphic artists Kredel. Hampe, and Wolpe for the
Bauersche Glesserei Company,
44
fig.
12-5).
Fig, 3-12.
Eskimo name
signs,
made by
soapstone
Eskimos also made stone engravings
(see tigs 10-16 and 10-17) The semi-
circles
were made
in
that they
Si ^MA
#\
A^
^
/^
1^
/\
Ml
S' tf.
lil
#*.
.^MS*.
Fig. 3-13.
Bookmarks
wood
OccU
miin
beiil
in
graphic workmanship
IS
Rueter
Fig. 3-14.
a.
b.
c.
for
Klaus Nottidruft
(i.)
Louis
firm;
(j.)
le
Hans
Fisfieries; (k.)
Britisti
for
a wine-importing firm;
Brouguy
for
a silk-spinning
Mac
Hansman and Langford
Scfileger for
Group Leaders;
Sparta;
(n.)
(m.)
ttie
for
(I.)
Sctiool of Youtti
David Stanfield
tfie
for
Golden
e.
f.
^^
g.
^^
4
46
Fig.
the
Irish
Workshops and
manufacture;
textiles,
wood
turning,
all
arranging them
and
a square, he has
created a good ornamental page.
in
47
3-16 and 3-17. The larger European farmers used to have signs, marks, or
coats of arms printed, often in color,
on the sacl<s in which their grain was
Figs.
brought to the
were
mills.
The
pearwood, using
ever the
name
printing blocks
themselves from
their imagination
of the
when-
The
stamp in fig. 3-16 is shown full-scale; fig.
3-1 7 shows a number of sack stamps reduced in size.
48
49
4.
Old &
New
Meanings
The modem
used
to
it
It
52
A symbol, on the other hand, moves the deep, secret recesses of the
human soul. A symbol is directed inwards; an allegory, outwards. Symbols carry the mind over the borders of the
infinite.
They
finite into
the unspeakable.
A symbol does
it
can be
chapter to shed
some light on the subject of old (yet always new) signs, which are still
relevant to our times. Without a deeper understanding of the old signs
and symbols, it is not possible to penetrate into the soul of works of art,
much
less share
in
have
itself.
53
5.
&
shiown consecutively
It
is
point
and sign
is in
art
kernel;
it
them are
symbol
of the
end
fact imaginary:
it
manliness.
loftiness,
of
ty,
All
5-2.
(grain of dust);
The
and
5-1
Point: the
number.
in figs.
Significance
and
It
of
is
life,
new
the symbol of
man
of "stop,
spirit
running erect;
it
(staff
Horizontal
earth,
line:
woman,
the passive,
earthbound.
Diagonal climbing
gress.
It
misses the
line:
death,
the active
stability, rest,
and
will to
rest;
the
material
and the
and certainty
of the vertical
and
hori-
zontal lines.
It
it
tianity
spiritual union.
Fork cross: symbolizes men standing with arms raised. Sign of the
and of the path of life divided between good and evil; sign for
becoming, being, and decaying.
Trinity
54
Alike
on
all
pnmevai
triangle, the
signs.
line with
it
It
and dissension,
particularly
when one
side
is
black (division of
light
and
dark).
when
more passive,
is
resting
black,
it
womanlike
is
in
pro-
It
It
it
horizontal line
is
omitted.
Fish-bladder sign:
comes from
the
It
perfect antithesis
(fig.
5-3).
day and
night,
summer and
all life
to
winter.
still
spinning
and the year. Much loved as an ornamental sign in many variations and
in all times and by all peoples.
Double spiral: the magnificent sign for perfection in fact, a completed S-line. Symbol of the day between the rising and the setting sun
and leap year (since a single spiral represents one year).
Figure eight: the loop without end and therefore symtx)lic of endless,
etemal time, which has no beginning or end.
Square: one of the three basic signs. Symtx)l of massiveness. sturdy
peace, and stability; stands fast and firm on the ground.
is the same
on all sides and the token for the number four, therefore, symbolizes
the four seasons, the four points of the compass, the four elements, the
55
combinations
it
It
it
Cross
in
square:
thie
the sign.
Diagorial
in
square
symbol
of earth,
fire,
and
light.
Sign of
life
Diamond
in
is
womb, granted
to
woman
power
by God; here
character.
new
figure
is
created with a
sign,
It
is
it
a beautiful symmetrical
star.
It
is
protection against destruction; also a very old Jewish sign, the Star of
rolls, as
an emblem of the cosmos, the divine Creator, and His work.
Pentacle: another very old sign, known as the druid's foot for its
magical meaning. Pointing upwards,
is a symbol of white magic;
downwards, of black magic. This sign shows the five senses and indicates the powers and forms in nature. The lines intersect one another in
well as
it
golden-section proportions.
seven forces of
is put on doors,
is a sign of
gates, toolboxes, etc. When the point is facing downwards,
was
the unholy and means discontent and trouble. In popular speech
Septagram: a sign
it
is
it
it
It
TvR
XT>^Y
oooee
Fig. 5-1.
DC@
OAVX^
Fig 5-2
57
Fig. 5-3.
univer-
symlx)l
bound
light,
heavenly,
The white
In
light
op-
yang
signifies that
each
is
in
the
always a
Is
daughter;
//,
first
ing.ken. hold
active,
58
ent cultures (a
differ-
life
mountains; (b
Assynan;
ance: (d
Old Eastern;
fishnet,
splitting,
lie,
)
oppress, water,
Negro; active
spirit, fiery
love, true
(c.)
light, bal-
spint, disturtjed
and
false witness
human
t)eing. great,
(e
god
Chinese;
or heaven,
imprisoned
59
A
Fig. 5-5.
tian
Some
of the
best-known Chris-
a church building:
monogram
of
Roman
angry
monogram
of
and
bearing the
monogram
consecration cross;
the Christ
hope
of Christ; Christ,
of the Christians;
60
\xeyz
JCHTUS
0e
0O6
ffi
OliO
SI
ur<.r^'^
5-6 More
Fig
bols
From
left
common
Christian sym-
to right. iDeginning
top
left:
(ish,
name Chnstus;
the
(ish.
symbol
of
on
lis
phoenix
and
dove as a symbol
dove as a symbol
it
'
harbor, the
61
already
tic
in
in
one
sign.
it
is
also hidden
in
It
in all
the
c). swastika
Maltese cross
de-lys cross
(e.).
(j.),
(r.).
flower cross
(t.),
Christ
circle.
62
(y.).
(a.,
(f.),
fleur-
(s.),
Russian cross
stantine cross
(I.),
Huguenot cross
chor cross
(X.).
heraldic cross
monogram
or Con-
Fig
still
living
peoples
primitive
mere ornaments
(a
^^^^
zenith (Philippines);
(Borneo), (g
(f
rhythm
cross
in
daylight
of water, (h
ebb
sun above and t)elow water (Pueblo Indian); (j) water in the
form of breasts; (k.) eternal passage of
the years; (I.) changing moon in the
north; (m.)
(n.)
changing
moon
in
the south;
cession of
r..
(i
s..
light
moons
(Celebes);
suc-
(p.. q..
(Fiji
Islands).
yi^M
.^^
1^^^^
^^1^^
S2I
irn^mi
63
6.
A New Awakening
we
critics' circles,
in
for
years
among
architects',
is
^journals,
when
in
a whole
new ornamentation."
Through the work of Kandinsky, Klee, Matisse, Herbin, Picasso, Vasarely, and the Op and Pop artists Hundertwasser, Alt, Bubenik, Capogrossi, Stella, and others, color and ornament have taken possession of
our world, and young people have grasped this trend with both hands.
Many factors have opened the sluicegates of color and ornament
hobbies, do-it-yourself projects for the home and clothing, communitytype houses.
man
every
there
is
in
this
book. At the
same
time
it
will
become
66
beautiful
have selected the illustrations in this book with great care in order to
give a good picture of the richness and variety of ornamentation created
by all peoples in all times. Designs should not be constructed with ruler
and compass but rather organically, freehand with whatever tool is
I
The
field of
ornamentation
is
very exten-
it
if
it
67
7. Early
Ornamentation
Ornamentation
is
one
of the oldest
human
expressions of
creativity,
articles, materials,
and
buildings.
The ornamentation itself can form an organic and logical part of the
object, emphasize certain places or parts and increase their value, or
can damage and
is not done well,
detract the eye from them. But
if
it
it
By
virtue of
its
early Middle
68
art
in
India,
chitecture and
on
articles that
its
was
often totally
negated.
Biedermeyer and the Empire period stemmed this tradition in Western Europe, and classicism restored the old forms once again, but
bloodlessness and andity are characteristic of the period.
Around 1900, ornamentation became the object of heated discussion
and was maligned under the leadership of the Viennese architect Adolf
Loos COrnament is a crime ") and the artists of the new functionalism,
for whom function and beauty were one and the same and lack of
decoration an ideal. The Youth Style, also known as the Vermicelli
reacted with a return to naturalistic ornamentation.
The desire for decoration and adornment is so strongly inbred in man
that nowadays he wants it on industnal products as well. The youth of
style,
today have
in
Elementary Ornamentation
always difficult to try to classify and rank the creative works of man
in terms of categories and importance. The case of ornamentation, with
its endless possibilities of variation, proved no different.
The following synopsis, which is based on the analysis devised by
It
is
Wolfgang von Wersin, restricts itself to basic forms, i.e., rhythmic, simple ornamentation, adapted and developed by all peoples in all ages
is a son of universal handwriting of
and in all parts of the world.
flows by
cadence, and rhythm.
dancing,
is as inborn as
mankind:
his
character
to
according
hands
and,
his
playfully
from
itself, as it were,
and the circumstances, appears as a softly undulating line, an angular,
hard, zigzag line, the introspective line of a circle, or one of many other
It
It
it
designs.
in essence all the possibilities of the elementary
ornamentation can be categorized in this
rhythmic
all
and
patterns,
can be vaned in a thousand diflerent
forms
basic
the
Each
of
outline.
is in
fact a triptych.
69
The two
left
left-hand panels
show
2.
again, the
3.
The two
again, the
linear
left
and the
right-hand panels
left linear,
show
right spotlike.
in
is
Fig. 7-1.
ITTTTTTTTI
basic pattern
O0O 0OOOO
one theme
11
OOOOOOOOOOOOOQO
oooo
oooo
ooo. o
oooo
oooo
Iftr.
'jTjTj^jCoyyyc/jO^y
natural
themes
'g?.^,^^'^^
The second row is the first variation: the single line of the basic form
has become a more complex element, still, however, alike, the same
theme.
The third row modifies the second into thin and thick lines or bands,
rhythmically placed next to each other. There are now two themes,
which can be extended indefinitely.
The bottom row has the same abstract structure as the third row but
uses forms borrowed from nature, again as a border and as a plane.
v.vvv^^v^
|^,Fl
The outline clearly shows once again that the very existence of ornament is based on play between contrasts: stillness and movement,
may be one
horizontal and vertical, thick and thin, round and angular.
of the proofs for the fact that making ornamentation is one of the
finds its origin in all the events
primeval talents of mankind and that
and things that accompany him like strange contradictions on his path
It
it
through
life.
flat
composite
(ar-
chitecture).
3.
of geometrical motifs
and by
in
it
nature.
5.
Ornamentation
lies in
is,
universal.
6.
material,
7.
8.
it
might be:
It
it
72
The
Earliest
Ornamental Forms
Omamentation
regions of
is
human
of
Mankind
originate.
of
human
nature
powers present
in
the
human
txjdy
and
in
in
the
bifurcation of breath
night, of light
flow.
A difference
of opinion
anses
over the remarkable difference between naturalistic and geometric ornamentation; itinerant huntsmen expressed themselves in naturalistic
imagery and ornament, while later indigenous agricultural peoples used
abstract, geometric forms. Fig. 7-2 illustrates both forms.
73
Fig. 7-2.
74
recorded time.
Fig. 7-2b is a so-called commando staff made from a piece of
reindeer horn and engraved with naturalistic wild horses. Equally
naturalistic are the engravings on pieces of kx)ne found in the Swiss
grottoes
although
All
(fig.
is
it
7-2f).
examples
of the
staffs
in
is
not known,
hunting.
geometric
style.
The
in differ-
ent places, can be divided into three groups: the so-called counting
stones
(fig.
or symbolic significance
e orm). Whatever
(figs.
own
7-2d and
letter
signs
e):
(fig.
and the
letter
7-2e. bottom
stones, which
left,
looks
like
mammoth
s tooth
0,000 years
h.(
as
armband decorations.
Fig. 7-2h is a fully schematized female nude engraved on
dates from the European Middle Stone Age.
ivory.
It
namentation
is
inherent
in
human
nor place.
moreover, other phenomena in nature that defy scienname but a few examples. What deeper forces control the secret flight of migrating birds? Is this order their own symbol
sign, or is
merely a functional streamline to reduce air resistance?
What is the deeper meaning of the secret battle order of the soldier ants
or the dance flight of the terns? Does the yearning for decoration and
Are there
tific
not,
explanation?
it
man?
75
'
'WM'UUM
in the Veluwe
1800-1500 b.c.
This type spread all over Europe at the
end of the Stone Age This ornament,
Fig. 7-4
Bell
beaker found
consisting of scratched
forms,
in,
geometric
is
The
onal
The decoration
filling
of this bell
beaker, rhythmically and sensitively distributed over the surface, rivals the
vase shown
in fig
scratched
but painted
in
7-5b. which
Greek
was
not
(Collection of
the State
Museum of Antiquities,
Fig. 7-3
over a toot
tall,
It
Leiden.)
Stroe
in
b.i
and was made by an artist who possessed not only the skill to build up such
a large pot from rolls of clay and a welldeveloped sense of shape (see the tension
in
oration
Alternating
rounded-off surface,
make
it
a master-
Bodemon-
derzoek.)
77
Fig. 7-5,
78
One
of the
most
beautiful
examples
The ornamental
division
is
of geometric ornamentation
to
3000
.<
is
.
(fig.
form a strong
circle.
Inside this
design: the
is
The
and bodies create a particularly sensitive embellishment. This magnificent old beaker is one of the highlights of ornamental art, adapting
animal forms with great conviction and mastery as living and monumencan only be compared with certain expressions of
tal ornamentation.
Oceanic ornamental art.
Other highlights of the geometric style of ornamentation are shown in
the two Greek vases (figs. 7-5b and c). They exhibit a rich pattern of
horizontally running bands in which a number of motifs offset one
another in a fine rhythm: zigzag and undulating lines, dots, tnangles,
diamonds, circles, and, above all, striking meander tx)rders. There is a
well-balanced division between base and decoration in each piece, and
It
in
its
variations, whereas fig. 7-5c, the large vase from Dipylon, near Athens,
illustrates a tendency to use animal and human figures in borders. The
of the
possibility of the
tion.
The Pueblo
is
completely decorated
79
Fig. 7-7.
the
w:S'^
the
strict
larly
geometnc
da Costa.)
earthenware
example
b.(
jug, dating
This jug
is
name comes
city wall of
It
consists of panels
filled in
with
diamond
a large meander
the State
motif. (Collection of
Museum of Antiquities,
Leiden.)
80
pattern
in
a particu-
J. F.
Fig.
the
%
i
It
a molten state)
is
double
Leiden
twist (twisted
particularly beautiful.
Museum
of
An-
I.
old ceramic
i-u'.-
f^loluccas
^^^
New Guinea
New Zealand
Fig
The zigzag
7-9
motif
in
a few of
its
South Africa
It
Congo
(Kassai)
entral Brazil
veloped
81
and
flat
in
Mexico,
the
Mayas
in
ware,
human
ape
stamp with
stamp with deer; (j.) fish
motif;
(i.)
(I.)
dou-
ble spiral.
Fig. 7-1
Round ornamental
many
utilize
ers, animals,
them
motifs from
and human
adapted
excellently
shape.
figures,
to the
all
of
round
surrounded by
with two
men
five
fighting
ler
83
Fig. 7-13.
was
Examples
of Viking art,
which
left
to right;
dragon's
head carved from wood from the infamous Oseberg ship; two bronze buckles;
an ornamental lid of a wooden box with
notching;
lid
of the
Cammin,
mounted
in
bronze.
8.
People
of
all
they
man senses
intuitively,
nor-
because
concealed in his spirit and his whole being. They are the
and simplest forms, basically very different from one another in
lie
clearest
ning,
in
sensibility
is
gratified
whenever man
finds or-
in
surance.
The three fundamental signs are clear and simple and at the same
They bear a clear relationship to one
another in spite of their opposing expressions. The figures invite one to
by
a game that is stimulating and inexhaustible. They evoke, as
if
themselves, imaginary
lines,
of their
The
illustrations in this
own
chapter show
try for
himself
in
his
There
is
endlessly varies
itself.
in
many
large construc-
one way or another. They form the beginning and the end
for
todays designer.
85
The
by Goethe
How
in
different
can see
is this
sign affecting
me!
in
One
Faust as follows:
in
the other!
in
the three
fundamental forms:
The square expresses the world of the heavy, the fixed (the earth).
1
2. The circle expresses the spiritual world of the feelings, movement,
the ethereal (water).
3.
The
expresses the
and fire.
triangle
tration of light
intellectual
world of
logic,
the concen-
become
important
in
ture
it.
Fig. 8-1
These
symbols
and even-
of
end
of
all
form. Their
fields.
that
all
The
pic-
teaching,
modem
makes use
of
soon
many
teaching
In
art
free expression,
design
it
is
important that,
in
addition to exercises
in
attention
geometry by means
of
pnmary
and bodies in geometry, by numbers and number relaand by their connection with the structure of earth and space.
figures
tionships,
tVloreover.
embedded
am
in
point, line, space, size, number, rhythm, proportion all the concepts
starl with the apparently
that are involved with the creation of form.
I
easy game of playing with the square its possibilities, vanable diviin
sions, and combinations with the other pnmary figures. This is done
media: nature study, color exercises, technical drawing,
and spatial experiments with clay, plaster, wood, paper, and cardboard.
The object of the exercises with the primary figures is the following:
many
different
1.
2.
and divisions
that
seem
to spring
simple divisions are the most beautiful and the most harmonious.
form a unity but at
4. To assemble pages of vanations, which not only
the
same
5.
To
cultivate
and cleanliness,
6.
To
above
my
classes
have found
that every
one
of
my
students without
87
Some
They were
done on graph paper of varying scales. Additional applications of
geometry to ornamentation are shown in figs. 8-9-8-17.
the square
The
shows seven
lines.
lower-right-hand illustration
logical
of
in
figs.
8-2-8-8.
^jTBnmss
HSSBHHOH
fflHfflfflfflHQ0
naan
neBU
and
^^M''xa#yT.
''^^^^ttjnr
variations of
totally different
s/
^ ArrtH4j^i>
wz
n^is^%
M^^^
Fig. 8-4.
in
elementary
Fig. 8-5. (a.) Variations based on the pentagon and hexagon within the circle.
These forms and divisions appear many
times in nature (flowers, snow crystals,
(b.)
Or-
o
0
Figs. 8-6
how
and
8-7.
These
figures illustrate
another
one
motif logical
and
or-
1/^
Fig 8-7.
o>:o>:o
OSQSQ
of
it
Try add-
rich
range
light to
\r^^/' \rj^/^ \
work
star
is
forms
exact).
made
The
ternately black
Fig 8-10
person
J van
in this
(irsi
seem
in
first
book,
shows
possibilities that
In
and
surface spnnging from the points and
lines of the hexagon The divisions
the square, e.g.. divisions
created by
this
in
txjrder
apparently reasonable
more
square
'
is
homage
a corroboration of
to the
this point of
view.
Eh
Fig. 8-1
self
analysis
will
phenomena.
94
Fig.
and orna-
on expenments
Hans Jenny, whereby
carried out by Dr
vibrations
were made
visible
His
of nature
it
The
illustrations
one arwther Their complexity depends upon the frequency of the pitch;
ship to
alx}ve
left,
frequency, below
right,
by the highest.
Fig. 8-14.
In
the
same
way.
Fig. 8-15.
temporary
Bill,
artists (Vasarely,
ment
Many
con-
Lhote.
tVlax
their work,
tend beyond
it.
AV
96
Fig. 8-
how
9.
Whenever we
its
it
it
It
it
sidetracks
in
offers
an abundance
of aids
and appliances by
of
which
approach things and absorb them, imprint their images in our thoughts,
and carefully store them in that magnificent instrument that is our memory. As Durer said, "From the treasure of his heart, collected by his
eyes, the artist draws his whole life long for the shaping of his ideas.
were possible
And again, "A good artist is inwardly a full figure, and
for him to live eternally, then he would, according to the inward ideas of
which Plato speaks, always pour out something new in his works.
For the creative man the study of nature is essential. Oscar Schlemmer expressed this way: "Study nature, take fully and totally, and
then give back the inner face. Paul Klee wrote: ""Take your students to
Nature, into Nature! Let them experience how a bud forms, how a tree
grows, how a butterfly emerges so that they might become just as rich,
98
if
it
it
"
it
as mobile,
just
just
is
'
revelation, insight into the workshop of Creation. There lies the secret.
Man himself is a part of creation. He is made up of the same component parts as all life in the cosmos, he obeys the same rules; the
proportions of his body are analogous to the rules of proportion in the
whole
It
is
of nature.
spirit of
man
is
and he finds this harmony beautiful. And he will also find beautiful
whatever he creates according to the same rules and regulations.
is most important that artist and artisan alike study composition in
nature. Not to simply copy the forms of nature, as he did in the last
century, but to seek the very fundamentals of things, the yardsticks for
proportion and harmony, the growth of form and the coherence of form,
It
color,
and decoration.
radiates through
all
General Concepts
primeval beginning, has always spoken but one
seeds and kernels the laws of composition were
laid down and have not changed since.
2. The rules and regulations of composition, size and proportion, and
mutual relationships are constant and universal. They lend their validity
to the structure and growth of the universe and to the structure of our
observations. They are revealed in nature and above all in man himself.
3. Nature creates with economical use of the simplest means a few
basic forms and an unending number of variations. The composition of
nature is logical in that nothing is ever done arbitranly. The whole com1
Nature, since
language;
in
the
its
first
position of nature
is built
on the fundamental
ordains, it
Nature works according to the rules of geometry, i.e.,
Rule
room.
creates a certain rhythm; above all it allows a certain elbow
why
That
is
and elasticity are closely related to one another in nature.
it
4.
it
5.
6.
it
sence
of the rules
in
man and
his work.
99
Fig. 9-1.
100
develop to the
seep
into their
in
nature.
it
their work.
9.
The
artist
must
relive the
life
of creation in his
work.
"Proportion and symmetry are beautiful
"When
speak
of beauty of form,
all
mean
(Plato).
to set rules
is
mathematics.
Nature works with a few basic forms and figures, yet it varies and
combines them in an endless and complete manner. Furthermore, nature illustrates here how the essential elements of beauty are based on
order, regulation, simplicity, symmetry, balance, alternation, and conlie in
2.
Fig.
part of
lize
in
9-1
oxygen (water is always H2O) under certain conditions crystala hexagonal system and never any other way! The amazing
is
all
belong
to the
in
variabil-
the
same
same
basic type.
101
A few
saw
things that no man before him had ever observed and discovered a
world so fascinating, so rich and varied that he thought he was in a
dream world. This man's hobby was lenses and lens cutting, and he
was the first person to see the movement of blood corpuscles and
microbes.
A small world, the microcosmos, had entered the viewing field of
man. The small, simple lenses of van Leeuwenhoek have since grown
to magnificent optical
of
of
the
infinitely small.
Man examines
the smallest
component
secrets.
in
parts of creation
order to
of the small
try to
indeed,
and gropes
here
in
particular
reveals
saw
it
in
as his
revealed
in fig.
it
to
9-10.
Nature offers to anyone who seeks it a limitless field for the study of
structures, which nowadays are used so enthusiastically as ground
material for abstract works.
The microscope has opened up new wonders of structure in the world
of the minute,
of microscopic
Impressionism, with
its
partners of natural science. Primitive art became a focus of attention because of its strong, expressive power and
tectonic construction. Pure forms and clear, functional concepts be-
became
102
music, and of a
The famous formula of C6zanne. "Study ball, cone, and cylinder" (for
decades men had laughed at this as the hobby of an old. obstinate man),
was zealously taken up everywhere, f^ondnan and van Doesburg divided the picture plane in horizontals and verticals and used only black
and white and the pnmitive colors (yellow, blue, red) so that, though a
rigorous purification, the art of painting might again begin with the
means
to
new
create
lucidity,
era.
that
formed the
He discovered
tary
man
for
centunes.
fields, of
proportion and order: radiolaria, diatoms, cells, and tissues. This wealth
of
wonder
beginning
The
is
life
here shows
its
in balls,
artist
expression, even
sparingly,
meaningful conformity
to
rules than
reveal.
man
a feeling
for simplicity
and
naturalness, and these two things are necessary conditions for man,
and
in
man,
to
103
Fig. 9-2.
Branch
tip
from an African
The
eggs
in
their decorative
nest.
The
stalk runs
104
Fig 9-4
Root stump
ol a
Mediterranean
omament.
transitions o(
shape
left)
Cross-section of a
Fig.
9-6 (below
right).
Microphotograph
of
105
Man Recognizes
the Creator
in
color?
but a
my
foot,
work divine
It
It
can be picked up and handled. In this way people could become reaccustomed to harmony and perfection in color and proportion, in rhythm
and melody.
pointed out snow crystals as an example of
Earlier in this chapter
one of the working methods of nature, namely, unity in the many.
I
106
and
is
is
we can
track
is
varied a
down thousands
of shells
we
snail
constantly find
nature.
Fig. 9-7.
meyer.)
107
The
form
spiral
is
a rare perfection.
In
itself in
It
is
such a
little
pity that
definite
end
there
is
which you must see with your own eyes, feel, and touch: the pink,
the mat-white glaze on the inside, and the encrusted old ivory gleaming
outside. Everything fits of itself, crystal clear, in thousands of variations
and new and wondrous combinations of color and form.
Some shells have a wide, gaping opening through which you can see
deep inside; others will not permit such intimacy and have only a narrow
truth,
and thorns.
A shell reveals its growth in the tension of the surface lines. A mollusk
forms and grows slowly with the growing body, thus creating the beautiful house, artistic, colorful, and clean, which also serves in defence and
battle as shelter and protection.
The effects of water can be seen in the forms and colors of shells: the
eternally moving, eternally undulating water files the sharp sides and
makes the forms fluid and soft. The water contains oxides that,
through the animal, give the shell its color and cause to flow into the
magnificent rhythmical patterns that are an endless source of inspirait
tion to the
designer
whose eyes
are open
and tensions.
Endless and
nature
who has
shows
tireless, exhilarating
rhythms,
all
life.
awakened
that
108
in
hope
that your
eyes
will
way as on
in tfie
^f^'^"^
same
in their
phase
velop a
same
shells
of
free,
homy
tom row shows the covert feathers of difpheasants and other birds, forming
a closed ornamental pattem (Drawing by
ferent
Esther Sandmeyer
On
the Gray
omament
in
a three-dimensional form
link
eg.
between
from
is
109
Fig. 9-10.
radiolaria
celled, with
110
Fig 9-1
(greatly enlarged)
creatures
live in
ticularly in
These
the sea at
single-celled
all
depths, par-
encapsuled
in
silice-
pletely geometric
shape: sometimes
it
Fig. 9-12.
Underside
of
a five-starred
The spaces Isetween the projecare closed over The edge orna-
starfish
tions
111
shaped
shells,
roundness
cent.
their
The
of the
in
made
and
smaller shapes.
Fig. 9-14.
miracle of design,
The
mam
down
form here
to
is
the
ribs,
adds
112
300
million
Of the
nautilus
(fig
Enor-
Fig. 9-16.
Cross-section ol a nautilus
This
pure spiral
the animals
need
In
for
living
curved
partitions,
113
Ornamentation
0.
Fo\k Art
in
To understand
as
have already
said,
is
primarily rural
art,
that
is,
art of
The
spiritual
foundation of
folk art
was
the constant
sameness
of
life,
the continuous cycle of the seasons that regulated the course of man's
and work. The interdependence of earth, wind, sun, rain, the blesman and beast, and the good and evil spirits
formed the philosophy of life. Time was regulated by the rising and the
setting of the sun and was always the same and constant:
was
reflected in the skins of the animals, in the ripening corn, and in busy,
creative hands. The wheel of time turned evenly, and between birth and
death lay the stations of a endless rhythm of life: work days and feast
days, times of joy and times of sorrow. This strong bondage brought
with
a strong feeling for tribe, family, and community, living within the
same area, on the same land, the same farm, in the same house.
Habits, customs, and characteristic symbols were saved and preserved, based on these strong ties, and were made sacrosanct.
This vast bondage of many in one, having the same lifestyle and
community, is the characteristic basis of folk unity, the source and
foundation of folk art and folk culture. From this ancient unity, based on
life
it
it
deep
historical roots,
stories,
came
we
art.
lemniscate,
Today
it
is
infinity, (b.)
An
^ ^
made by
(c.)
Chest
(f .)
sun signs.
114
The
difference
in
peoples,
in
and decoration
of them were
bound together in one great whole the basic forms, methods of workuse
ing, and desire to decorate. What these people made for their own
but
they
functional,
and needs always bore the mark of the strictly
wanted to do more than thatto make their objects decorative, richer,
and more valuable. They decorated with the meaningful signs, symbols,
and motifs that had survived, whose deeper meaning and significance
whole;
among
was
different artisans
still
in
in
color, form,
all
clearly apparent.
it
It
happy mood
and
significance.
In
it
self-assured;
it
imitates yet
is
original
and
creative;
it
is
spontaneous but
of feeling and
functional;
it
it
is
full
It
simplifies
the notions
of high art
it
something
totally
soms beneath
artist.
115
it
weighty matters as depictions from the Bible, landscapes, or huanimal figures. He has a pure instinct for arrangement and
composition; for end forms, corner accents, headings, and borders. His
joy in decoration and his happy pleasure in forms and colors make him
ingly
man and
ostentation; a beautiful
painted
5.
crib,
when
room
for
it
is
pride
a bride's chair, a
a wedding gown.
The use
of
many
strong,
folk art;
The 'sophisticated" art of today is now using strong, unbroken colors. The colors
must be powerful, pure, and true; they must radiate and jubilate. The
colors are powerfully juxtaposed with one another and clearly separate.
is a joy to see a peasant house interior and the peasant woman in her
this is the
It
colorful
6.
this is
costume.
kind heart
evident
in
art of
the people;
tiles,
116
and
Figs. 10-2
the
Fiji
stencils (of
bark
The
10-3.
Tapas
made
(cloths)
from
stamps and
strong leaves) on beaten tree
Islands,
with
is beaten with
heavy wooden paddles into sheets
measuring atxiut twenty inches wide
little
deliberation to
make beau-
characteristics, but
measures about
one by one
They are a feast for the eye as a wall
simple, repdecoration and worlhy.
resentatives of Pacific omamental art.
smaller one. above, about
foot
if
117
Asia
bamboo
Is
treated
In
the
same way.
These calabashes from Southwest Africa, with cut and burnt-ln designs, are
very decorative. The Inside of the dish Is
decorated with black burnt-ln
the outside
the white
Is
partially
wood and
line figures;
scraped down
to
burnt-ln design.
an
Is
attractive holiday
souvenir.
Fig. 10-5.
gourd
is
is
it,
three
brown color
of the
calabash and
work with
Its
own
character.
118
Fig. 10-6.
A Moroccan weaver
at
her
vertical
great beauty
Fig
10-7 Wrought-iron
craftsman has
household
made
article
trivet
The
of this simple
tine,
ornamental
every
of
museums
Museum for
folklore
(Collection of the
State
Fig,
signboard
In this
powerful composition
III!
Ms
The
common
technique
and
for
wood decora-
rural handicrafts.
jfca>w rTOiiiy*"''r
Fig. 10-10.
Wooden
inches
in
diameter,
from
cut)
about
an exam-
font,
is
leaves.
what
flat,
plaited
iniscent of the
Henk van
Scandinavian countries
folk art,
role in the
allife
among farmers
when work was at a
standstill. The availability of many different kinds of wood encouraged their skill.
the winter,
This fine
filigree
work
Is
made
by cutting
can be worked
in
the
in
in this
the wood.
same way.
H^H
120
and
Roman
Vliet.)
style.
(Photo by
Fig
with
The
Polish art of
paper clipping
very
much
It
IS
related to
is still
alive.
single
etc.)
from
folk art.
They are
in
decorating Easeggs. These are fine examples of dividing and accenting a particular form in
ter
a meaningful way.
122
Figs
stone-cutting work
123
11.
Ornamentation
among
Primitive
Peoples
Ornament
is
certain place.
It
It
It
It
it
it
It
It
it
2.
3.
4.
it
it
Fig
11-1
Mask
of the
Yoruba
tribe,
fif-
casting
Fig
11-2
from the
Fig
Wooden mask,
Dan Guere tnbe
of
bronze
Nigeria.
painted black,
in
Africa
have
shows
by a
their
work
member
1900.
at Its finest
of the
Bakuba
It
was made
tribe, circa
scheme
This
wants
ment
to
is
least
is
explicit
it
it
it
human
body.
can emphasize
It can
be totally subordinate and insignificant, or
something and focus attention on it; it can increase the worth or meancan make it lighter or heavier or higher or lower.
ing of a certain part,
is well
An ornament makes something more valuable and richer
done and not misused by unnecessary elaboration and overemphasis.
A vase that has a good shape and is already enriched by a beautiful
glaze does not require further ornament. A space that, through its good
proportions and meaningful component parts, pleases the eye does not
need additional decoration. Ornamentation in itself is unnecessary and
has neither point nor meaning. Only when
is bonded to the article in
such a way that reflects the article's character and enhances it does it
it
it
if
it
it
it
gain
its
value.
lives.
Ornament
is
a language, which
art,
is
it
there.
True handwork
is
art cultivates
it
some
con-
of the
artists of today.
126
Fig. 11-4 Melanesian mask (left), almost one yard high, an adornment for the
gable of a spirit house; and wooden portrait of a Maon chief from New Zealand
(right)
The
peoples
IS
art of
among
these
pnmitive'
the hand of
Fig, 11-5.
ple of large-scale
127
Figs.
1 1
-6
and
1 1
-7.
en
In
and
their
legs;
multicolored decorations.
they
may be
trated here);
In
one
in
and
hail
ings, but
is
illus-
may prefer
which make the
another they
architectonic motifs,
they use
village
The
paint
when
the sun
comes
paint-
out, they
128
<'.;/.;
IWi'.B^i'.'rf
::::!Ji:
It
treads
pear
come
to l3e
geometric
in
character, but
In
the broader
lines
ored t>eads
make
which the
col-
Mechanische Weberei
Pausa company.)
lection of the
w^
,/ 6
P
129
wooden mask
with
Teke
tribe in the
ideal
symbol used
at feasts
and magic
into
rituals,
another being,
decoration
small
masterpiece.
Fig. 11-10.
Stamp from
the preclassical
cross
is
in
The
central
filled
These stamps,
were used to
and paper. The craftsmen de-
which were
print cloth
made
of clay,
stamps
The shapes
of the
and
They also made cylindrical
were used for omamental
triangular.
seals that
wmwmmvmj^^mmnfm
wIM^^M
11-11 (a) Bamboo ornament from
Borneo The most beautiful and expressive bamboo ornaments come from the
things (b
effect,
The
Fig
in
with a piece of
coconut shell healed to a glow or engraved with a sharp knife, then the
planes are incised These drawings
come from bamboo lut)es, which are
used
in
from
Unrolled
bamboo ornament
New Guinea An
analysis of these
shows a
rich
imagination
of
in
depict-
and humans
ornamental
composition, with the fineness of scissorcutout wor1< The straight, geometnc bor-
131
Fig
11-12.
til
IITirXTI
tainers from
mental ornamentation
Is In
keeping with
(see
fig.
11-13).
These designs
IIIIIIIITI
mm
mm
exhibit a
totally individual
IMIHITT-I
application of motif.
itit rTTT-n
VI
Fig. 11-13.
Among
from
ethnological
design, they
meaning
still
middle shield
is
The
a magnificent, rhythmical
depiction of sitting
human
and
means,
figures
the
wood
Museum
drawings by
Alia
red.
of Folk
Seeberg.)
132
12.
Ornamentation
Making things
is
&
in Arts
a primeval need of
man
Crafts
no less a need.
Since the beginning
tion IS
it
mankind
It
decoration.
rier of
Decoration
created
in
is
so closely bound
is
to
handwork
ornamentation
that
and superfluous. The motivated hand controls the implement, and the
handmade article conjures up the decoration by itself: asks for some
meaningful decoration that will add to its value.
Shapes cry out for structure and accentuation; ornamentation gives
pleasure in the making and delights the eye of the beholder; brings life
to a plane and tension and rhythm to the interplay of forms. Life itself is
decoration and play, rhythm and tension; life and movement are present whenever something is meaningful and valuable.
Good decoration is alive yet unpretentious and subordinate to what
adorns a vase, a dress, a building. The history of ornament runs paralit
it
it
lel
art, for
it
is art.
When we
thing
itself.
Man
work.
game
of material
and
tool gives
peace and
gratification,
tion of
ornament
is
it
handwork.
Precious Metals,
Iron,
and
Bronze
from
tfie
garnets
Museum.)
134
a feeling
for
firmly tied
it
to creative
Fig
12-2.
Chung
palina-bronze
bell is
b.c
.).
This
a masterpiece of or-
namental
Fig
Evangelical Book of
St.
Irish
shnne
of the
Molaises (died
in
Fig
12-4
sumed
Embossed golden
deer, pre-
seum, Moscow
Mu-
135
Fig.
In
2-5.
these
little
in
who passed on
Fig. 12-6. The famous sword of Snartemo from the Viking penod of Scan-
dinavia.
On
hilt
are
in
the so-called
136
Fig
tral
Fig.
in
2-8.
Bishops
precious metals
staff,
in
nchly enameled
Limoges
in
the
3th
Museum.
Amsterdam.)
filigree,
whole
IS
Utrecht
137
Fig. 12-9.
Copper and
silver bracelet
Sumatra.
Fig. 12-10.
in relief
Fig.
12-11 (below
right).
Spiraling gold
950.
138
Fig
12-12 (a
Modem
silver rings
Conner
(b
Gold and
(Photo by
from
Con
silver bracelet,
Fig. 12-13.
-::
^V/
by Frequin.)
139
Fig. 12-14.
The
Fritz
Kuhn
and
functional form;
and
moon,
flllgreelike
make
Berlin,
this
fine
example
of the
In
1967, Kuhn
on very extensive
projects. His
smith traditions,
was
clude experiments
In
later
enriched to
steel,
in-
copper, and
aluminum.
Fig. 12-15.
Another example
of Fritz
Kuhn's work. This piece has been reproduced here to show how a master
craftsman and photographer can create
real beauty of form merely by adapting to
his material the intrinsic skills of
trade
a smith's
ham-
140
Fig
made by
bands around a
Walter Kneist.)
"
Fig
^^
-^
"^
Andre Vollen
was assembled by welding parts of commercial
steel T-beams together Volten has exeIree plastic by
cuted
many
It
squares, and intenors of important buildings This structure has an organic construction resembling a tree or
bush
^
141
the body,
somewhat
the shoulder
finer
on the neck;
is flat in line
neck to the shoulder and from the shoulder to the body, as well as the underside
of the collar. The crimped foot is handled
lid,
total
is
repeated
Fig.
in
decoration.
12-20 Decoration
is
applied to the
first
dry-
Workshops.
142
Fig
Vase designed by
12-21
Lies
De
Por-
black surface
is
ornament
is
scratched:
it
is
a free-form
vase
like
vertical, with
is
mainly
and
circles strewn
Fig. 12-22.
sketchlike
gray background.
Academy
of Art
s-Heriogenbosch; photo
143
Fig. 12-24.
^Z'-
Fig. 12-25.
belly,
profiled foot
acquired
its vitality,
rich-
these rows
and was
further
finish.
144
was decorated
in
many
f^
III
""T^
f
i
body
pleasant to
is
Fig
made by
the
different sizes
and
singly or
ball motif in
in
groups.
Fig.
and
is
made of
in
which
the blow-
ing process.
M5
is
clearly discernible.
Fig.
12-30 (above
right).
ttie
Wtiat Japanese
witti split
bamboo
the
central
ornament
Fig. 12-31.
and the
is
finely
woven
worth noting.
Ornamental basket
in
of pulp
diameter.
Form
open
latticework.
The outside hm
of
it
J^'
ganic, beautiful.
J^'-^'
J*
Fig
and
Pacitic
craftsmen
and
flies
form, structure,
and
dispel heat
make these
They are
fans to
perlect
in
joins; perlect in
is
in which the
adds great or-
created,
namental value Apart from the chesstward design on the handle, no extra dec-
Fig.
in
Is
bamboo.
mSaosS5:^.-.
W
Fig.
taller of
high,
made
is
of
around a sturdy core with a very fine ornament of dyed grasses The small one
is
of structure
makes
it
its
precision
a masterpiece of
Fig
measunng
fifteen
by
fifteen inches.
ft
at
The
and
-^^^i^^^^rf^SH^Si^lII^ESryrt
the be-
147
Chinese
Fig. 12-36.
ball.
This master-
which
ball is
sit
within
successively
cut loose through the holes of the surball from one massive piece of
an undertaking that lasts for years.
Each ball has a pierced omament with a
different motif: the inner balls have
rounding
ivory,
and
What
plant motifs.
ball, figure
the Chinese
in this
medium
1^.
"^\
spite of
its
enormous
in
industrial explosion,
it
thin layers.
148
Fig
12-38
Rosewood
dish, turned by
Fig
knew how
to reveal
It
in
a particular
shape.
149
Textile Arts
Fig. 12-40.
in
Egypt;
a.u. (Col-
of Antiq-
Leiden.)
Fig. 12-41.
1
Museum
(\/1useum, IVIoscow,)
150
Figs. 12-42
and a
silk
spectively.
Fig. 12-44.
Lebeau
1930.
in
151
woven
wall hanging
ornamental
in
strongly
is
and
fine structural
and
ing by
tonal contrasts.
Thea Gregoor
(1963).
It
is
an
about
SIX
by three
feet.
The
magnificent,
and
combine into
fine
example
of
make
ornamental
this
piece
textiles.
Amsterdam.)
Two
large
m^^-
.!
153
Fig. 12-49.
made by
plait-
based on squares.
Fig. 12-50.
Some more
experimental
im^ m.
!
Fig. 12-51.
try
sign.
154
Hi rw
m mm
Fig
12-52 Design by
Ackall Felger,
based on African motils The typical African character has been preserved in the
designs, which, through their power and
simplicity, suit the
well
modem
(Collection of the
interior
very
Mechanische
de-
was
155
12-56 (above
Fig.
lacework borders
right). Detail of
in
a large
the
altar cloth
Katagami, fabric
The design
is
printed
are cut
In
the traditional
for printing
know
that
craft, for
no machine
will
they
ever be
skill
of
their
unknown craftsman.
156
13.
Ornamentation
in industrial
Products
The search
for
new
possibilities in
do not
be wntten
i
off
cultural
phenomenon
in
an arts-and-
status
and color on
businesses have gone
ration
earthenware
and
porcelain.
Self-respecting
considerable success.
We are discussing here mechanized decorations, which are obvimodem
ously not painted on but drawn, duplicated, and applied by
opinion, that
technological means. This is the only sort of solution, in my
remain consistent with the
will satisfy the need to enrich the form yet
spirit of
our times.
is another circumstance
There
decoration.
fairly
in
is
flawed after
customary
its
first
cover
ticularly
glass used
in
lighting installations.
gleam and cool beauty easily attract the eye. they require
m order
scarcely any decoration. From the point of view of usage, e.g.,
Since
their
market
a better gnp. a decoration is not justifiable. What the
soluAcceptable
decoration.
desires is the deciding factor in favor of
and
porcelain
for
than
difficult
tions for cutlery and silverware are more
to get
glass.
^5^
In trying to
in this
it
it
it
its
creation.
use
flower decoration
is
was
tasteless to reproduce
it
with a glued-on-picture,
it
however success-
we can do
Decor must remain modest and subservient: should not attract too
much attention or be anything more than a fine, meaningful accompanfully
it.
it
form and at the same time search for the right forms of decoration,
which can be regarded as an essential by-product of the development
human phenomenon.
The "prophets" of pure form eschew all decoration, with the exception of curtain and furniture fabrics. Consumers from certain intellectual
and artistic milieus until quite recently preferred the undecorated form.
Nowadays they lean toward "modern" forms and want to see them
elevated by a discreet and appropriate decor.
Most consumers give little thought to good form. They have not yet
of this primeval
own
our stores
outward
we see two
distinct
worlds: on the one hand careful attention to form, quality, color, and
in both the manufacture and the sale; and on the other no attenform and quality, merely a superficial beauty and tinsel. Between
the two, naturally, there are intermediate stages in the manufacturers
and their products. In order to achieve a gradual improvement, design-
decor,
tion to
158
Fig. 13-1 The famous Landi chair, designed by Corray and Blattmann in 1 938
The
Fig.
3-2.
Man Slam
among
in
Europe The woven seat and back contrast well with the steel frame and at the
same time conlnbute ornamental richness.
Fig
3-3.
The
still
Lack of good
many people
ity
fail
makes
of a
for
oration,
decoration
little
tories,
are.
lines,
may
159
is
no conscious
or-
Fig. 13-5. Pocket tape recorder, designed by Philips. Placing the technical
into
on
this product.
Fig. ^3-6.
Modern
Heraldry, a
photomon-
lamps from postwar Amencan auThey are for the most part
products of the fatal desire for styling and
have no relation whatsoever to organic
ornament.
tomobiles.
160
14.
OrnQmentQtion
Ornament
literally
Architecture
in
means 'decoration' or
when we examine a
"embellishment."
building
cathedral, or
city
It
is
not
such as a temple,
jewel
pari.
in
Even a
city itself
can only be
fairly
judged
in
Whenever an ornament
we
omament
realize that
in
architecture
obtrudes,
demands
too
much
attention,
and
sensitivityour sensitiv-
wants
ity
to
ing
all
and reserve
will
and use
often result
in
of materials.
The need
decoration.
A meaningful aftinity to nature and the organic will prevent the artist
from straying. A pure feeling for the materials and their structural and
functional possibilities
is
just
as indispensable
to
meaningful ornamenta-
tion.
Architecture through the centuries has displayed all the different vaneties of ornament; Stonehenge and the monuments in Brittany; the
edifices
in
Roman
161
was used
hold
example).
Closer to us are the medieval cathedrals,
for
masons
of the stone
in
is
the
ornamentation of the religious temple cities of the Toltecs, Mayas, Aztecs, and Incas in Central and South America.
The decline of true ornamental art began in the Renaissance with
exaggerated and nonsubordinate decoration and reached its nadir in
the nineteenth century, when architecture lost its true sources of inspiration and sank into a weak imitation of classical and medieval styles.
Around the
and
art
began
in
doctrinaire functionalism,
Hundreds
bronze,
Fig. 14-1. (a.)
from
tfie
Acropolis
b.(
Propylaean Temple
in
at
the
b.c.
iron,
of
architecture.
itself in
works of
art
executed
in
every conceivable
medium
tapestries, ceramics,
wood
their
in
architecture today.
Fig.
14-2 (a
Done
Aphaia Temple
(b
at
Romanesque ornament.
Saint Wal-
3th cen-
tury.
Fig. 14-3.
whch emphasizes
lines, but
also
the vertical
of
163
Fig. 14-4.
(circa
300).
finely
and
its
fillings of
the corners),
makes
this
one
of
in ar-
chitecture.
Fig. 14-5.
of
164
Fig 14-6
The Koran
prohibits
in
principle
the depiction o(
men and
ing or carving
Islamic architecture
animals
in paint-
has
as well as the
decoration (a
wooden panel
fillings.
a.
wm
wmM'^
Fig
4-7
ingenuity
Geometnc decorations of
and
Maya temples
diversity
of
fill
Uxmal
.-
.^^.i:to
great
in
Yucatan.
165
Fig. 14-8.
ment
in
architecture,
used
orna-
In railings,
en-
been
in
and
trelliswork,
has
in
wrought
cated
iron, in
at Steffen's
Queen
in
Dublin.
Eijck.)
Willem
II
cigar fac-
Valkenswaard (Architektenburo
Sogers en Van der Hoogen, architect).
This construction exhibits a good
tory at
166
it
Fig. 14-11.
in
painted jute
Fig
particularly decorative
when
illuminated
at night
167
1 5.
Ornamental Trends
In
spite
of the
in
demand
new
for
ments in composition. A much clearer and more direct use of ornamenelements is evident in the work of younger, mostly living artists:
tal
it
it
vient role.
many
ture
is
very vague.
decoration
seems
to
art in this
discussion of ornamentation as
be
fruitless.
As Hoelzel
said,
"It is
art
rather than
168
Everything
itself:
The magic
dry decoration
is
stiffness of
a measured-out,
true ornamentation.
art is:
di-
it
self-autonomous aesthetic
realization.
tion
169
Fig. 15-2,
Gemeen-
Fig. 15-3.
(1927).
his
In
in
lessons to
in
a constantly
Fig.
tVlatisse
and
As he grew
older and painting became more difficult
were always
for him,
Jazz senes,
is
of
which the
illustration
a black-and-white example. He
here
made
170
15-5 Richard P Lohse. a Swiss arthas devoted a large part of his lite to
paintings whose forms and colors are
Fig
ist,
Fig
among
the
is
reckoned
postpainterly abstractionists"
because
of the spatial
ter of his
illustration
shown here
is
a graphic from
this period
171
Fig.
are
5-7.
porary
tlie
artists.
These two
Dobrovic exhibit
ric
many contemprints
this trend.
by Juraj
The geomet-
illustration is im-
however,
is
stimulating
and
intrigu-
ing.
behind a
Fig.
rich
15-9 (below
Vasarely.
right),
He describes
Carmi by Victor
the work as fol-
design components
structures
works
in
of art."
will
sensitive
I
acC
g
:
a.
HBBaaai:
J
f
222
..;
s;
[
-H
,- MM!.
.. p.^,
[ --,. "-"Mh-HMMM.
^^-.--MMM>
>
MMM>
.M MM MM M>
,MMMMHM->
" - MM
mi
172
Fig 15-10
abstract
art.
trollable toundation
and
intuitive deci-
has developed a
methodology m which as much as possible IS established in advance: an an of
sions. Peter Struycken
began
with black
He has developed
circle
iations with a
to his
He
later in-
own
color
number of
var-
certain form
choice
IS
into the
1969.
MUUU\I\IU\A\A
ing the
The
first
phase
of
a square
in
circle
is left to
Museum, Amsterdam.)
173
Bauersche Giesserei
Index
44
Baumeister. 168
Bay, 168
bead bands, 128. 129
beggars' signs, 17
Behrens
Peter. 28
135
Bense, Max, 169
bells
Biedermeyer
Bill,
69
art,
Companv34
abstract
to illustralions
171
art.
acanthus leaves, 68
Acropolis. Athens, Greece, 162
advertisements, 17, 18, 31. 86
Aerobindus, monogram, 19
African art, 11, 63. 81. 118, 119. 125,
127-130. 147. 155, 162
airplanes. 9, 12. 101
airports, 9, 17
gibers. Josef.
93
Alhambra Spam, 162
Braille, 17
81
amethyst. 139
cathedral, France, 13
136. 165
apes. 82
Asmatic
art, 11,
Assyrian
132
59, 161
art,
astrology. 55
astronomy. 55
atoms, 54
automobiles, 9
ornaments, 160
Aztec art. 82, 162
Bakuba
art. 7,
68, 161
125
balances. 54. 59
Balkan art. 122
balls, 145
carved ivory. 148
art.
bamboo.
Basutoland
art,
brain,
human, 105
brands, cattle, 21
see also ownership signs
Braque, Georges,
11
Brazilian art, 81
bridges. 101
British Eagle International Airways,
Brittany, France, monuments, 161
bronze. 69, 81. 84, 125, 135, 167
128
46
Byzantme
art.
19
Cordula shrine. 84
Corinthian style, 162
cornelian. 139
corner sign, 54, 57
Corray and Blattmann, 159
couple-close (heraldry!, 42
cosmos, symbols for. 55. 56
Cousiin, Lies, 143
crafts, see arts and crafts
crafts,
signs
36
creation,
crosses,
canlon (heraldry), 42
Capogrossi, 66, 168
Carmi (Vasarely). 172
Celtic,
12.
63
Roman, 60
Andrews, 42, 54, 57
wheel, 54, 57. 135
crosses m squares, 56, 57
Crucifixion, 7, 54
cryptographs, 33
174
cuneiform
cutlery. 157
Ceylonese art. 81
Cezanne, Paul, 103
Charlemagne, monogram, 19
Chartres Cathedral, France,
writing, 17
13.
163
dots, 78, 79
doves, 61
dragons, 83
Dreyfuss. Henry, 38
druid s foot, 56
Dubuffel, Jean. 168
Durer. Albrecht, 98
Dutch calligraphy, 29
Dutch railways, 40
eagles, 42, 61, 165
earthenware, 144, 157
earth, symbols, of, 7. 54-56, 58, 60, 86
Easter eggs, 122
Eckmann, Otto, 23, 28
Edo period, Japan, 44
eggs. Easter. 122
Egyptian art. 18, 39, 68, 150, 161
Eiffers, Dick. 34
elements, four. 55. 56.
emblems,
9, 17. 18,
59
42
embossery, 136
Empire style, 69
enamelwork, 137
engineering. 101
English art, 161
engravings
bone, 74
ivory.
136
74
rock.
20
stone, 74
74
wood. 45
equipment signs, 17
Eskimo art, 45. 81. 123
eternity symbols, 55, 63
Etruscan
art,
European
68, 161
75 83, 84.
border. 54
St
centaurs, 144
Central American
162. 165
60
Russian. 62
see bulls
cattle brands. 21
tooth,
62
Huguenot, 62
Jerusalem, 62
Maltese, 62
Roman
66
do-it-yourself projects.
iron,
62
57
54, 57.
copperplate, 27
56
heraldic,
cattle,
art.
55.
7,
hammer.
81
103
symbols
of.
fork, 54.
Caroline Islands
Carolingian art, 11
cartographic signs. 17
Celtic
44
79
cranes
cranes (machines), 101
cells.
for,
(birds). 78.
cane. 146
art.
license plates, 17
Babylonian
art,
bows (weaponsi, 59
156
an, 125
Davie. Alan, 168
Davis. 168
cobwebs, 99
66
Asian
Amiens
17
for,
Borneo
Dahomey art, 81
Damon pattern, 155
ot Signs iKoch), 19
borders, ornamented, 70-71, 130
Roman, 23
altar cloths,
Dan Guere
Book
allegories. 52
Allmen, Hanna von, 156
alphabets, 28
Alt.
blind, writing
chief (heraldry). 42
Chinese art, 7, 42. 69 81. 135. 148. 161
Chinese calligraphy. 23, 36
Chinese symbols, 55. 58. 59
Chladni. Ernst Florens, 95
Chung
dachshunds, 78. 79
Christ, Jesus. 7
symbols for, 19. 55. 60-62
christening fonts, 120
Christian symbols. 7, 52. 54 60, 61
Bijenkorf
eye
ot
eyes,
fans.
fire.
146
fantasy
art,
farmers 20.
116
21, 73.
120
European, 48
Japanese, 44
father symbols, 58
feathers, bird, 109
Feiger, Adolf, 155
feminine symbols. 54, 58
tsrtihty
Egyptian 18 39
55
loss (heraldry)
talishoB 126
Hillenaperger.
42
fibula 134
figure eights bb S7
Fill Islands art 63, 117
filigree 120. 135. 140
finger signs 17
fire symbols 55 56 58.
First
phase
86
and
fleur-deiys 62
flowers 23 82. 90. 108 124 130 156
folk art 24. 55 67 114-116 114 115.
117-123. 126
fool (heraldry) 42
footprint writing 17
Garamond Claude 32
garnets 134
geometric designs 37. 68 ?2 73 77.
78. 79 80. 82. 85 67 86. 88-97. 99
117. 119. 129-131. 148. 156. 165.
172.173
geometry exercises 8768 88-91
Georgian style 166
120, 122. 142
54
57.
riders
79
house signs 7
houses in art 20
Hubers Dirk 143
Huguenot symbols 62
human figures 20.39.49.68 74 78. 79
82.83.118.123 124 131.132.165
humor in folk art 1i6
Hundertwasser 66. 166
1
hunters 20. 73
Ibex 78. 79
Ice Age art. 20,
immortality. 61
Irish calligraphy
iron. 136
42
Gutenberg Johann 25
gypsy signs 17
Haeckel Ernest 102. 110
Hakum 32
half circles 55. 57
Hallslall culture. Europe. 81
hand signs 17
handwork signs. 17
Japanese
162. 163
art
Jenny Or Hans 95
Jewish symbols 56 60
Johannes, mongram 19
judges gavel 54
Jugendstil Youth style movement
23 28. 69. 168
Jung
Carl
81
of arms] 43.
Piet 103 162. 168 170
monograms 17 19.60.62
moon cycles 12 59. 63
Moroccan art 119
art
44
Mondrian
nautilus
Lippens Guido 97
Lissilski
El
30
lithographs 29
llamas, 118
loaves and fishes miracle of 61
Hemnch
159
Mac
11
Emperor
monogram. 19
Justinian
Fisheries. 46
9. 12 101. 160
chambered 99
113
Nazca-Huari culture 80
Negro symbols 59
Neociassic an 69
Neolithic art 20. 114
art
44
11
81.
127
125
nonagrams 56 57
Noland Kenneth 168
North African art 119.162
NothdrufI Klaus 46
nucleus symbols 54
nudes schematized 74
numbers 17
magic 56
Oceanic
of
167
mammoths engraved
man and woman. 54
leelh.
74
Manessier 166
Maori art 127
Mapaggo art 128
map making
17
39
opals 139
Op an 66
Maltese symbols 62
Eastern Rome.
81. 116
art. 11
oceans, symbols. 58
Old Eastern symbols 59
iute.
hieroglyphics
Moluccan
139
Laisen Jack Lenor 46. 156
Lascaux cave art 12
lapis lazuli
machinery.
57
^*>
missals 25
17 16
Linioges. France art 137
156. 161
Langlord. 46
handwriting 23 25
hexagrams
secret 17
sign 17 18
Lannooy Chris 151
Ltfffelhardi
Hansman and
hearts 119
heart shield Iheraidryi 42
heaven symbols 56. 59
heaven and oarth 7
Henrion F H K 46
heraldry 42. 62
Horbin 66 168
herd signs 21
herringbone pattern 154
hexagons 90. 93. 96. 107
languages
light signals
25
82
j'ave necklace 74
'.fberei Pauls 34.35
Guatemalan
art
so
Mi
M<
spirals 99
Lebeau Chris 151
GrCf^inger Ktaus 46
guild signs 1 7
gusset iheraidry]
127
it
20
laguars 165
i6i
mi'n.
.'.ifi
_, jnpM* 44
meiaiwurking 119 134 141
labyrinth letter 26
lace 156
land and water symbols. 55
Landi chair 159
hourglasses 56 57
houses decorated 126
art
membership signs
mt.
Japanese calligraphy 23 32
Java art 68 I6t
152. 167
140
Fritz
abarum 60
54
Gregoor Thea
Kuhn
insignia 18
interlacing elements 70-71
Ionic style 162
good and
horizontal lines
horn, 133
Melanosian
19
reindeer 74
horses 74. 78. 79
art
Koch RudoH
Hoelzel 168
Holy Ghosi symbols 60. 61
German
knot writing 17
C 26
Honduran art 69
hook signs united 54 57
fish
101
68
hobbies 66 120
Hittite art
(cartography). 17
ornament 8 13
as rhythm 6 12. 72 124
Oseborg ship 84
Otto the Great Holy Roman Emperor
I
marks 18 46
Kassan Congo an 81
see also bookmarks, trademarks,
hatach> (Japanese sense of form). 43-44
watermarks
Keichror Vorfa" iKiee) 170
Mary Virgin 56
keyboard signs. 17
Khmer 'Cambodiani art 68 161
masculine symbols 7 54 58
kings symbols for 59
masks 11 125. 126 127. 130. 165
Kilkenny Worksfraps 47. 139 142
materalism symbols 7 54
kitsch 157
Matisse Henri 66 105 168 170
mats 146-148
Hiavior >Laszkiewitz) 152
Mayas 7 69 82 162 165
Kieo Paul 66 86 98-99 166 170
meanders 68 74, 78, 79
knots magic 114
monogram
19
Ottoman an 68
ownership Signs
pale (heraldry)
-'
21.45
42
monogram 19
heraldry) 42
nverted (heraldry! 42
Paleologus
pall
pall
paimeties 68
palms 68
Pankok Bernhard 28
panthers 78. 79 82
175
paper:
cutouts. 121, 170
symbols,
patchwork, 1S2
peacocks, 61
passivity,
54
7.
Pech. Elko 46
pedigree signs. 21
pentacies, 56, 57
pentagons, 90, 96
Persian art, 68, 78. 79, 162
Peruvian art, 81, 118, 138
pewter, 142
PhilipsCompany 160
art.
63. 81
phoenixes, 61
Picasso. Pablo. 11. 66 144. 168
pictographs. 17, 18, 20. 33. 39-41
pine 120
African 104
pitch,
149
pmwheels, 54, 57
place-name boards,
17
118-120
planes, ornamented, 23, 70-71. 72, 96
planets, symbols, 55
plants. 23, 49. 68, 78. 79, 90, 99. 104.
105. 108, 119, 124 136, 148
Plato, 98, 101
playing cards, 17
plaits. 84.
art,
121
Polynesian
art,
147
Ruskin, John 23
Russell, Michael, 46
Russian art, 62. 150
Sainl Waldench Church, Murrhardt. 163
samurai, Japanese, 44
pearwood, 48
pebble beads, 129
Phillippine
86
publishers, 18
Pueblo Indians, 63, 78. 79, 81
purity, symbols, 55, 61
pyramids, 85
42
40
Rheumatic Center, 46
Rhineland art, 142
Riley. 168
rocks, engraved. 20
art. 11,
rosewood, 149
rubber, foam. 167
Rudhard type foundry 28
Ukranian
semantics. 18
semiotics. 18
senses, five. 56
separated elements 70-71
septagrams, 56, 57
serpentine lines, 12
Shang dynasty, China, 36
108
129
art, 138
Sumerians. 22
sun cults, 83
sun cycles. 12
Sunrise (Wojtyna-Drouet) 153
sun symbols, 7. 20, 55, 58. 63. 83.
Susa. Persia. 79
swastikas, 7, 62
Swedish art 83. 120
Swiss art, 74, 75. 115
switchboard signs, 17
swords, Japanese. 44
swords. Viking. 136
symbolism, 7. 13
symbols, 7, 18. 52-56, 57-63
Van
Van
Van
Van
Van
9. 17,
39,
40
Verboeket,
120
(Dreyfuss), 38
ni
106-107
Spam
(Gregoor). 152
Spanish Lace (Larsen), 156
Sparta,
85
diamonds
in.
overlapping, 56, 57
176
9, 17.
weapons m
weaving.
130
handmade,
49
20.
152-154
30
Wersin, Wolfgang von, 69
Westphahan art, 120
wheel crosses 54, 57
wheels, sun. 120
Wijdeveld. H Th
W/illem
11
106
factory,
97
Netherlands, 166
Winde, Jocken. 149
115, 119,
18,
Wilkhahn furniture
123
9, 17
art,
Werkman, Hendnk N
tools in
trademarks,
86-87
tools,
107, 107,
154
communication,
watermarks, 21
water reservoirs, 167
water symbols, 7, 55, 56 58, 59. 63. 86
waves, 12, 124
46
visual
wallpaper. 157
television, 9
Tennyson, Alfred Lord, 106
textiles, 117, 119. ISO
modetn, 11, 151-156, 157
55
snakes, 165
Snartemo sword, 136
vinyl,
Vogtel printers 46
walrus bone, 84
Ward and Saks, Inc 46
Tel-design, 40
S-lines,
7, 54, 57, 79
vibration patterns. 95
Victory Boogie-Woogie (Mondnan), 168
Viking art, 68. 84. 136
vertical lines.
tally-stick signs. 17
tribe,
168
Max 145
syntactics. 18
Teke
139
27,
Vermicelli style, 69
115.
silverware, 157
sleep, symbols, 7
de Velde, Henry
Doesburg, Theo,
tapas, 117
140
signs, 18
silver 134. 138.
20
ships, 12
ships of life, 61
Siberian art. 81
signals, 9, 18
sign language, internahonal.
121
77, 114
Sumatran
art,
straw, 146
stripes, zebra, 109
Struycken, Peter, 173
secret signs, 17
17,
canners. 46
ornamental, 30. 31
166
tish
typefaces. 23. 25
typography. 54
Shintoism, 43
shipping signals,
turtles. 165
Turun Kala Oy
geometric, 37. 92
steel. 141.
11
Stanfield, David, 46
starfish. 99. Ill
Star of David, 56
stars cycle of, 12
see also astrology, astronomy,
constellations, zodiac
141, 167
prehistoric, 12
112.
165
Stam. Mart. 159
stamps 17. 18, 82, 130
sack 48. 49
Standards 17, 42, 60
stars,
modern,
snow
Rococo
Rueter Pam. 45
watermarks, 21
woodworking, 120,133.149
woodblocks, 121
woodcarvings, 84. 125, 126
woodcuts, 26. 29. 48. 49
see also engravings, wood
wool. 150
Wu Cheng-Yan. 33
46
Yaneff, Chris, 46
yang-yin sign, 55, 58
Tucker, 168
Zwart. Piet. 31
zodiac signs,
17.
22
RENE SMEETS
"A
richly
documenre^^^^^^^^^HFphilosophicol
rreorise
and Ornaments ore inextricably related expresof a desire not only to communicate but to communicate
Signs, Symbols,
sions
oil cul-
times and places hove developed a commorS lanand symbols, which they hove then used to
tures in
all
guage
of signs
moke
how
their
beoutiful.
ration.
dents
guide
and
on
for
craftsmen, designers,
and
stu-
artists,
creotive fields.
in oil
the author of Mosaics for Everyone and Introduction to the Cultural History of Metals, os well as contributing edi-
Mr.
Smeets
is
tor to Arts
English,
York
Cincinnori
Toronto
London Melbourne
ISBN D-^^^-^7flD0-^