Peoples dwelling in arctic climates are limited, by their materials, to particular modes of expression. Bone and ivory as shaped for use in the arts of subsistence afford facilities for the employment of a very restricted class of linear decoration, such chiefly as could be scratched with a hard point upon small irregular, often cylindrical, implements. Skins and other animal tissues are not favorable to the development of ornament, and the textile arts—the greatest agents of convention—do not readily find suitable materials in which to work.
Decorative art carried to a high stage under arctic environment would be more likely to achieve unconventional and realistic forms than if developed in more highly favored countries. The accurate geometric and linear patterns would hardly arise.
Through form.—Forms of decorated objects exercise a strong influence upon the decorative designs employed. It would be more difficult to tattoo the human face or body with straight lines or rectilinear patterns than with curved ones. An ornament applied originally to a vessel of a given form would accommodate itself to that form pretty much as costume becomes adjusted to the individual. When it came to be required for another form of vessel, very decided changes might be necessary.
With the ancient Pueblo peoples rectilinear forms of meander patterns were very much in favor and many earthen vessels are found in which bands of beautiful angular geometric figures occupy the peripheral
zone, Fig. 480 a, but when the artist takes up a mug having a row of hemispherical nodes about the body, b, he finds it very difficult to apply his favorite forms and is almost compelled to run spiral curves about the nodes in order to secure a neat adjustment.
Fig. 480.—Variations in a motive through the influence of form.
Through methods of realisation.—It will readily be seen that the forms assumed by a motive depend greatly upon the character of the mechanical devices employed. In the potter's art devices for holding and turning the vessel under manipulation produce peculiar results.
In applying a given idea to clay much depends upon the method of executing it. It will take widely differing forms when executed by incising, by modeling, by painting, and by stamping.