These Simple
Forms Are Produced In Endless Combination And Often In Brilliant,
Kaleidoscopic Grouping, Sometimes Representing Broad Effects Of Scarlet,
Black, Green, Yellow, And Blue Upon Scarlet, And The Wide Ranges Of Color
Skilfully Blended Upon A Ground Of White.
The centre of the fabric is
frequently occupied with tessellated or lozenge patterns of multicolored
sides; or divided into panels of contrasting colors, in which different
designs appear.
Some display symmetric zigzags, converging and spreading
throughout their length. In others bands of high color are defined by zones
of neutral tints, or parted by thin, bright lines into a checkered mosaic.
In many only the most subdued shades appear. Fine effects are obtained by
using a short gray wool in its natural state, to form the body of the
fabric in solid color, upon which figures in black, white and red are
introduced. Sometimes blankets are woven in narrow stripes of black and
deep blue with borders relieved in tinted meanders along the sides and
ends, or a central figure in the dark body with the design repeated in a
diagonal panel at each corner.
The greatest charm of these primitive fabrics is the unrestrained freedom
of the weaver in her treatment of primitive conventions. To the checkered
emblem of the rainbow she adds sweeping rays of color, typifying sunbeams.
Below the many angled cloud group she inserts random pencil lines of rain;
or she often softens the rigid lines signifying lightning, with graceful
interlacing and shaded tints. Not confining herself alone to these
traditional devices, she often creates realistic figures of common objects
such as her grass brush, wooden weaving fork, a stalk of corn, a bow, an
arrow or a plume of feathers from a dancer's mask.
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