. Guide leaflet. influence ofbasket work on the arts of these people. The lines bounded by zigzagsare plainly copied from the work of the basket maker. The birds necksrise and depend from these basket designs. Fig. 14 is from a large shawl-like garment from Lachay, Dear (han-cay. The color of this textile is indigo blue with the designs woven inwhite, in broad stripes. It is the interlocked bird design: the upperbird faces to the right, and the lower one to the left. If we study oneof these birds we find in its neck and body the same form as is shownin Fig. 3. THE PUMAPlate IV Fig. 1 shows the
. Guide leaflet. influence ofbasket work on the arts of these people. The lines bounded by zigzagsare plainly copied from the work of the basket maker. The birds necksrise and depend from these basket designs. Fig. 14 is from a large shawl-like garment from Lachay, Dear (han-cay. The color of this textile is indigo blue with the designs woven inwhite, in broad stripes. It is the interlocked bird design: the upperbird faces to the right, and the lower one to the left. If we study oneof these birds we find in its neck and body the same form as is shownin Fig. 3. THE PUMAPlate IV Fig. 1 shows the head of the puma in terra cotta. This form is onlyfound in the art of Tiahuanaco. It seems to be the parent of the hun-dreds of conventionalized cat heads wherever tiie influence of Tia-huanaco art is found and especially at Pachacamac. The puma wasone of the gods worshipped by the Peruvians, and the puma god. partman and part puma, is often represented in the arts of the Tiahuanacoor Megalithic people. PLATE IV. THE PUMA PERUVIAN ART [5 Fig. 2. The central figure on the monolithic gateway a1 Tiahuanacois represented as wearing a belt with this form of puma head on eitherend of it. A great number of variants of this head are common to Tia-huanaco art and wherever its influence extended. Figs. 3-4 are plainly derived from the preceding figure. Fig. 3, fromPachacamac, has the ring nose. Fig. 4, from Nazca, has a step-formnose in place of the ring. There is a close similarity in the outlines ofthese figures. We shall find other variations on this head in Figs. 7,9, and 15. Figs. 5-6. These two figures will show, to a person who has noknowledge of primitive art, one way in which animal figures would be very excusable if such a person did not recognize Fig. 6 asa great cat. In fact, a positive identification could not be made byanyone who had not seen the same form of the animal before the degen-eration had proceeded to the extent shown here. Now, looking at Fig. 5,we
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Keywords: ., bookcentury1900, bookdecade1900, booksubjectnatural, bookyear1901
