1 56 
KERAMC STUDIO 
HISTORIC ORNAMENT— INDO-PERSIAN 
E have here another closely allied form of 
oriental decoration, a combination of the 
Arabian and Persian, with the feeling of 
the native Indian for nature over all. 
From their highest work of art to the sim- 
plest child's toy, you will find always the 
same guiding principles, i. <?., care for general form, absence of 
excrescences, or superfluous ornament, nothing added without 
a purpose, nothing which could be removed without disadvan- 
tage. There is the same divison and subdivision of lines as 
in Arabian decoration, the difference is not of principle but of 
expression. The general repose of the decoration is never 
lost. The ornament is invariably in perfect scale with 
the position it occupies. For instance, on the narrow 
neck of a hookha, you will find small pendent flowers 
on the swelling form of the bowl a larger pattern, on 
the lower edge ornaments with ttpward tendency, at 
the same time forming a continuous line, preventing 
the eye from running out of the design. Wherever 
narrow flowing borders are used, they are contrasted 
by others, running in the opposite direction. The 
general repose of the decoration is never lost. In 
general you will find equal distribution of the surface 
ornament over the ground, the perfection of marvellous 
drawing, the exact balance of gold, color and form. 
General Rules : When gold ornament is used on a colored 
ground, where gold is in large masses, the color is darker; 
where lightly used, the color is lighter. When a gold orna- 
ment alone is used on color, the color is carried into it by 
ornaments or hatching of the ground color. When an orna- 
ment of one color is used on a ground of another color, it is 
separated from the ground by an edging of a lighter color or 
gold, to prevent harshness of contrast. Ornaments in color 
on a gold ground have a dark edging to prevent the gold over- 
powering the ornament. Large ornaments in gold on a 
colored ground have an edging of color darker than ground 
to prevent gold overpowering the ground. 
The Indo-Persian coloring, as a rule, is very similar to the 
Arabian and Persian. They use, however, more secondary 
and tertiary colors, such as mauve, olive and maize. They 
use a greater variety of colors on colored grounds, with out- 
lines of gold, silver, white or yellow separating the ornament 
from the ground and giving it a general tone. Sometimes 
they use black in low-toned combinations. Often the most 
glaring intensities of color are neutralized into harmony by a 
gold line, which unites and warms the design, blending the 
whole together like a transparent veil of gold. In this way 
they illustrate the rule that colored objects at a distance 
should present a neutralized bloom. 
There is always proportion in the leading lines of a pat- 
tern, skillful distribution of flowers over the surface, and not- 
withstanding the intricacy of the decoration, there is a perfect 
continuity of design. This fills with a plenitude of decoration 
the entire surface with profuse ornament either alike or of 
similar design, being in general a simple repetition of the same 
subject. The color of the ground, always warm and harmon- 
ious, occasionally light, more often dark, unites the design 
and is the principal agent in the general effect. This method 
of distribution, with admirable feeling for color, gives richness 
and calm, an indefinable feeling of repose, the only fault being 
the possible monotony of this powerful unity. Nearly all 
designs are taken from the floral world, conventionally treated, 
a generalized type prevails over species. The Indians are 
closer to nature than most Orientals, sometimes introducing 
animals and even human forms into a decoration otherwise 
conventional. The so-called Indian palm is frequently used 
(Fig. i) conventionally, introduced into floral designs. Some- 
