| In the Dong-Son style the tendency towards
decoration is accentuated. A whole series of new motifs, in particular
tile spiral, and other patterns of curved Files, are added to the
traditional basic design. At the same time Lim design tends to depict
human and animal figures together with ornamentation, rather than
on their own. Decoration is also present in the strictly geometrical
segmentation of the entire surface. In the fields thus formed the
individual motifs are repeated, set, against one another, and varied
regularly.
The two styles mentioned prefer symmetrical composition, both in
style their general design arid in detail. The Late Chou style,
oil the other hand, stresses rhythm rather than material composition,
mid has no place for symmetry. Where one finds all asymmetrical
pattern, one call attribute this with certainty to the strong influence
of tile Late Chou style.
Considering the fact that the influence of tile Dong-Son and Late
Chou styles manifested themselves in various degrees, partly by
immediate contact but in many cases only by means of the links existing
between the Indonesian peoples themselves, it becomes clear that
this inevitably led to a great variety and considerable differences
in decorative art. Each tribe has left its imprint upon its ornamentation
and amongst many Indonesian peoples the characteristic features
have not changed tip to our own day. They are determined by the
special motifs which are chosen, often (but not always) connected
with the way la which they are integrated into the decoration as
a whole, and also by the technique employed in working the materials,
as well is by the dyes used.
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