24. According to the passage, Navajo weavings made prior to 1890 typically were characterized by all of the following EXCEPT
Amsden has divided Navajo weaving into four
distinct styles. He argues that three of them can be
identified by the type of design used to form
horizontal bands: colored stripes, zigzags, or
(5) diamonds. The fourth, or bordered, style he identifies
by a distinct border surrounding centrally placed,
dominating figures.
Amsden believes that the diamond style appeared
after 1869 when, under Anglo influence and
(10) encouragement, the blanket became a rug with
larger designs and bolder lines. The bordered style
appeared about 1890, and, Amsden argues, it reflects
the greatest number of Anglo influences on the newly
emerging rug business. The Anglo desire that
(15) anything with graphic designs have a top, bottom,
and border is a cultural preference that the Navajo
abhorred, as evidenced, he suggests, by the fact that
in early bordered specimens strips of color
unexpectedly break through the enclosing pattern.
(20) Amsden argues that the bordered rug represents a
radical break with previous styles. He asserts that the
border changed the artistic problem facing weavers:
a blank area suggests the use of isolated figures,
while traditional, banded Navajo designs were
(25) continuous and did not use isolated figures. The old
patterns alternated horizontal decorative zones in a
regular order.
Amsden’s view raises several questions. First,
what is involved in altering artistic styles? Some
(30) studies suggest that artisans’ motor habits and
thought processes must be revised when a style
changes precipitously. In the evolution of Navajo
weaving, however, no radical revisions in the way
articles are produced need be assumed. After all, all
(35) weaving subordinates design to the physical
limitations created by the process of weaving, which
includes creating an edge or border. The habits
required to make decorative borders are, therefore,
latent and easily brought to the surface.
(40) Second, is the relationship between the banded
and bordered styles as simple as Amsden suggests?
He assumes that a break in style is a break in
psychology. But if style results from constant quests
for invention, such stylistic breaks are inevitable.
(45) When a style has exhausted the possibilities inherent
in its principles, artists cast about for new, but not
necessarily alien, principles. Navajo weaving may
have reached this turning point prior to 1890.
Third, is there really a significant stylistic gap?
(50) Two other styles lie between the banded styles and
the bordered style. They suggest that disintegration
of the bands may have altered visual and motor
habits and prepared the way for a border filled with
separate units. In the Chief White Antelope blanket,
(55) dated prior to 1865, ten years before the first Anglo
trading post on the Navajo reservation, whole and
partial diamonds interrupt the flowing design and
become separate forms. Parts of diamonds arranged
vertically at each side may be seen to anticipate the
(60) border.