The Tsimshian (Paperback)

This historic book may have numerous typos and missing text. Purchasers can download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1632 Excerpt: ...a unique effect by combining Types 1 and 3 (PL 4, c). In a number of examples, however, many design elements are shared in common. A frequent stylistic feature of totempole design is the sculptural expansion of the major shapes which are, in turn, separated one from the other (PL 3, c). Within these major divisions there is further segmentation of details. The major and minor forms are both usually represented by deep relief carving in which a varied angling of planes in respect to the surface plane is of conspicuous importance. Other parts are divided by incised surface lines and by painted areas. The importance in the design of separated areas is evident in every case. An exaggeration in the rendering of heads, whether human, animal, or composite, is fundamental to pole design (Fig. 10). In practically every example these are arranged in a vertical, rhythmical pattern. This is a repetitious pattern often broken by smaller design elements. Within the over-all design these repetitious elements are often alternating and are composed of a number of varied shapes. Rhythmic relationships are usually vertically oriented and are seldom obvious. The heavily accented parts are of extreme importance in these designs. While they practically always carry the balanced and rhythmical elements, they also function in the design because of their sculptural prominence. The rendering of these distinctive parts often places a totem pole within a broad traditional area and sometimes within specific tribal limits. The rhythmic handling of design elements, so fundamental to North Figure 9. Tsimshian Totem Pole. Figure 10. Haida Totem Pole. west Coast pole sculpture, is supplemented by several other equally important features. The concept of the relative size of the figures repre...