Service and Craftsmanship the Way it Once Was!
The root of nomadic Art
Several motifs that tribal weavers have incorporated in their designs retain features of an ancient artistic style. This style made frequent use of real and mythological animals and birds, and of parts of these creatures, includina heads, antlers, and horns. Art historians have given this style various names, depending on factors of time, place, and stylistic emphasis. In its broadest meaning it can be called "zoomorphic." An appreciation of some motifs found in more recent tribal weavings depends on an awareness of this ances-tral art. In the absence of such a perspective, we could easily underestimate the aesthetic breadth and depth of nomadic life. Archeological finds within recent wars confirm that early nomads produced and commissioned art objects of enduring importance in the study of Asian art.
Zoomorphic styles of various kinds took root on all continents, begin-ning at the time of paleolithic cave paintings. The list of European peoples that featured animal images in some stage of their art includes, but is not limited to, the early Greeks, Etruscans, Celts, Goths, 'Vikings, Germans, and Slays. 'Vestiges of these traditions have continued into our own time in animal figures on coats-of-arms and royal insignia, as well as in the folk art of many regions. Marija Gimbutas has recorded the survival of early animal images in materials from the Baltic region,' and Bruce Chatwin has noted strong relationships between imagery in the Ipiutak native culture of Alaska and animal figures in north Asian art.' Many other examples could be cited in folk art found throughout Eurasia.