[32] See W. Jochelson, The Koryak, Publications of the Jesup North
Pacific Expedition, Vol. VI, pp. 688 et seq.; and in the publication
previously referred to by Dr. Reichard.
A fairly simple sequence is shown on an embroidered strip (fig. 37 a)
consisting in regular sequence of squares followed by three narrow
strips; the middle strip is a little wider than the two lateral strips.
[Illustration: Fig. 37. Koryak embroideries.]
A more complex rhythm is shown in figure 37 b. The long fringe which is
caught in the seam near the upper border of the embroidery is repeated
at regular intervals. An embroidered strip near the upper part of the
design is interrupted and the black bars on the central white strip are
omitted at these places. A division of the upper row of embroidery,
between the sets of fringes, into three parts of unequal length will be
noticed. Just under the breaks in this row are two groups of tufts of
seal fur, a little wider below than on top, and these are set off more
definitely by the arrangement of groups of white lines on the lower two
rows.
Still more complex are a number of borders embroidered in colored
yarn. In these we may distinguish between the rhythm of form and
of color (fig. 38). The arrangement is one combining symmetry with
rhythmic complexity. On one of these strips (fig. 38 a) some of the
rectangles with rhombic checkerwork have a white background; in these
there are two rows of blue or purple diamonds at each end and two rows
of red diamonds in the centre (design 1). Other rectangles have a
yellow background with red diamonds at the sides and blue ones in the
middle (design 2). Besides these there is one with red background and
black diamonds (design 3). The colors of the crosses are irregularly
arranged. There are four with predominating red and white (design 4)
and others with predominating yellow and blue (design 5). The most
symmetrical arrangement of this strip requires a yellow rectangle
in the middle of the front. One end of the stripe, as shown in the
illustration, has three short blue bars on a red background (design 6).
The peculiar cut at this end fits into a corresponding cut at the other
end and shows that the stripe as it is has been taken from a garment.
The general impression of the design is that the rhythm and symmetry of
the crosses is subordinated to the symmetry of the rectangles. For this
reason I have placed the crosses in the following arrangement in the
upper line, the rectangles in the lower line.
Crosses 4 5 5 5 4 5 4 4 5 4 6
Rectangles 2 1 1 2 1 1 2 1 3 1
Front Back
The embroidery on figure 38 b consists of four distinct elements; a
flower with leaves on each side (design 1); one branch with curved
leaves (design 2); one branch with terminal flowers (design 3). Besides
these there is one other element which occurs only once on the back of
the coat. It is marked design 4. The embroidered stripe is not sewed
symmetrically to the coat but has evidently been placed in such a
way that the arrangement in the front of the coat corresponds to the
sequence:—
2 3 2 1 _3_ 1 2 3 2
while the back is occupied by three designs (3). The small design (4)
is found on the back. The whole arrangement of the small designs on the
back being
2 2 4 2
Another specimen (fig. 38 c) consists of a double leaf design on a
plain background alternating with another design consisting of three
crosses. This pair of designs occurs in regular succession five times,
but under the left arm it is interrupted by the two patterns shown on
the right hand side of the figure.
[Illustration: Fig. 38. Koryak embroideries.]
In still another coat (fig. 38 d) we find the same series of designs in
symmetrical arrangement on the front and back. The middle is occupied
by a cross and the other designs follow as indicated. Under the right
arm appears an additional design, consisting of a central cross and
rhomboidal fields with central dots; while under the left arm a single
field is added differing in color from all the others but related to
them in form.
An interesting feature in this series is the overlapping of form
and color. This condition appears even more clearly in designs from
ancient Peru. I observed the occurrence of this rhythmical form a
number of years ago and called the attention of Mr. Charles Mead to the
phenomenon.
He described[33] a number of designs of this type which show a rhythmic
arrangement of six units, sometimes the same in form but different in
color. Sometimes with a double rhythm, one of form and one of color.
[33] Charles W. Mead, Six-Unit design in Ancient Peruvian Cloth, Boas
Anniversary Volume, New York 1906, pp. 193 et seq.
Plate IV, fig. 1 represents a border of vicuna wool, consisting of a
series of diagonal bars all of the same pattern. The sequence of color
is:
1. Bright red (1) with brown (7) dots.
2. Blue (2) with pink (1*) dots.
3. Dull yellow (3) with brown (7) dots.
4. White (4) with pink (1*) & brown (7) dots.
5. Dark green (5) with red (1) dots.
6. Red (1) with green (2) dots.
The triangular patterns (Plate IV, fig. 2) have the following sequence:
1. Background white figures red spots dark blue.
2. — dark blue — red — dark yellow.
3. — yellow — red — dark blue.
4. — brown — red — yellow.
5. — light blue — red — dark yellow.
6. — dark yellow — red — light blue.
The quadruple bird head pattern (Plate IV, fig. 3) has the following
colors for the background, bird, and bird’s eye:
1. Background pink 1 bird: yellow eye: pink.
2. — yellow 2 — red — yellow.
3. — dark yellow 3 — light yellow — yellow.
4. — dark red 1^a — yellow — pink.
5. — yellow 2^a — dark red — yellow.
6. — dark yellow 3^a — light yellow — light yellow.
[Illustration: PLATE IV.