﻿ABORIGINES 
  OF 
  HISPANIOLA 
  KKIEGER 
  505 
  

  

  lines 
  entirely 
  encircling 
  the 
  vessel 
  above 
  the 
  shoulder. 
  This 
  archaic 
  

   design 
  pattern 
  appears 
  on 
  South 
  American 
  earthenware 
  vessels 
  from 
  

   Venezuela 
  and 
  Colombia. 
  Other 
  survivals 
  of 
  archaic 
  decorative 
  

   design 
  are 
  several 
  forms 
  of 
  applied 
  eye 
  molding 
  so 
  well 
  described 
  by 
  

   Spinden 
  from 
  Mexico. 
  An 
  applied 
  ribbon 
  of 
  clay 
  resembling 
  a 
  coffee 
  

   bean 
  is 
  the 
  more 
  common 
  form. 
  A 
  mere 
  depression, 
  or 
  gouged 
  out 
  

   area, 
  also 
  a 
  central 
  punctation 
  or 
  node 
  surrounded 
  with 
  an 
  apphed 
  

   ribbon 
  of 
  clay, 
  are 
  other 
  characteristic 
  forms 
  of 
  eye 
  representation. 
  

   The 
  banded 
  punctate 
  embellishments 
  appear 
  frequently 
  on 
  the 
  painted 
  

   ware, 
  principally 
  red, 
  or 
  maroon, 
  while 
  the 
  archaic 
  forms 
  of 
  eye 
  repre- 
  

   sentation 
  appear 
  on 
  unpainted 
  v/are. 
  

  

  A 
  decorative 
  panel 
  of 
  incised 
  lines 
  on 
  the 
  incurved 
  shoulder 
  ridge 
  

   of 
  earthenware 
  vessels 
  is 
  a 
  common 
  method 
  of 
  applying 
  a 
  decorative 
  

   design 
  employed 
  by 
  the 
  aboriginal 
  Haitian 
  potter. 
  Both 
  vertical 
  and 
  

   horizontal 
  lines 
  are 
  incised 
  alternately 
  in 
  series. 
  The 
  Hnes 
  are 
  reg- 
  

   ularly 
  terminated 
  with 
  rounded 
  pits 
  made 
  in 
  freehand. 
  Scarified 
  

   decorative 
  designs 
  are 
  frequently 
  produced 
  by 
  scratching 
  the 
  walls 
  of 
  

   the 
  vessel 
  with 
  hachure 
  figures 
  before 
  firing. 
  The 
  lines 
  are 
  roughly 
  

   parallel 
  and 
  shallow, 
  and 
  appear 
  without 
  the 
  terminal 
  pits. 
  Another 
  

   form 
  of 
  cross 
  hachure 
  is 
  produced 
  by 
  molding 
  the 
  vessel 
  on 
  a 
  basketry 
  

   base. 
  When 
  the 
  basket 
  is 
  removed, 
  the 
  reticulated 
  imprint 
  of 
  the 
  

   fabric 
  remains. 
  Cross 
  hachure 
  and 
  incised 
  hnear 
  designs 
  terminated 
  

   with 
  pits 
  appear 
  as 
  embellishments 
  oftenest 
  on 
  the 
  black 
  incised, 
  

   unpainted 
  ware. 
  

  

  Characteristic 
  media 
  of 
  artistic 
  expression, 
  then, 
  in 
  the 
  decorative 
  

   designs 
  embellishing 
  aboriginal 
  Haitian 
  pottery 
  are 
  three: 
  First, 
  

   application 
  of 
  paints 
  or 
  slips 
  in 
  white, 
  salmon, 
  red, 
  maroon, 
  and 
  

   polychrome 
  paints; 
  second, 
  application 
  of 
  geometric 
  designs 
  in 
  incised 
  

   paneling, 
  including 
  series 
  of 
  straight 
  lines, 
  curves, 
  circles, 
  open 
  and 
  

   closed 
  spirals; 
  third, 
  luting 
  on 
  to 
  the 
  body 
  of 
  the 
  vessel 
  applied 
  

   anthropomorphic 
  and 
  zoomorphic 
  figurine 
  heads, 
  or 
  the 
  incorporation 
  

   of 
  the 
  extended 
  body 
  of 
  the 
  vessel 
  as 
  a 
  portion 
  of 
  the 
  design 
  in 
  effigy 
  

   canteens 
  and 
  on 
  the 
  mcurved 
  shoulder 
  of 
  painted 
  red 
  ware 
  bowls. 
  

   Incised 
  paneled 
  designs 
  and 
  apphed 
  rehef 
  figures 
  are 
  freely 
  used 
  in 
  

   combination, 
  the 
  plain 
  knobbed 
  or 
  zoomorphic 
  figurine 
  heads 
  being 
  

   mounted 
  near 
  the 
  rim 
  of 
  the 
  vessel, 
  on 
  the 
  incurved 
  shoulder 
  of 
  which 
  

   appear 
  geometric 
  incised 
  embellishments. 
  The 
  terminal 
  pit 
  occurs 
  

   in 
  conjunction 
  with 
  straight 
  lines 
  and 
  incomplete 
  circles, 
  while 
  the 
  

   incised 
  or 
  apphed 
  circle 
  appears 
  with 
  a 
  centrally 
  excavated 
  pit 
  or 
  

   punctation 
  in 
  relief. 
  

  

  The 
  simphcity 
  of 
  the 
  freehand 
  technic 
  employed 
  in 
  shaping 
  the 
  

   molded 
  figurine 
  head 
  is 
  remarkable 
  because 
  of 
  its 
  efTectiveness. 
  

   Many 
  of 
  the 
  clay 
  heads 
  are 
  clearly 
  intended 
  to 
  represent 
  frogs, 
  

   snakes, 
  turtles, 
  iguanas, 
  or 
  lizards; 
  birds 
  such 
  as 
  the 
  parrot, 
  owl, 
  

   pefican, 
  and 
  others; 
  and 
  mammals 
  as 
  the 
  jutia 
  and 
  sea 
  cow. 
  Others 
  

  

  