(artist unknown, located at Hierakonpolis, Egypt) (c.3500-3400). Hierakonpolis Boat Design Jar [painted clay]. The Brooklyn Museum of Art, NY.

It would be difficult to find a mosaic so faded and rendered with a single color that manipulates the balance between positive and negative space, and juxtaposes two types of organic forms (natural and figurative), with such grace. This single register is a beautiful example of the kind of deceptively simple patterns I am attempting to master. | 

This design is an example of a pre-dynastic Egyptian artist instilling more movement and energy in a work than many collateral cultures of the time period, which is unexpected. The subject elements are severely flattened and abstracted natural and figurative forms. However many are rendered in graceful arches, creating a more wave- than grid-like sense of rhythm. This is strongly supported by the tightly spaced, stubby strokes which create supporting trim to the single register.

Shapes are elongated, very sensitive to negative space (strong pattern) and planar. Curvilinear forms are used more than typical of the time, to graceful and rhythmic effect. This sense of rhythm is established more by the steady pace of short strokes that seem to indicate leaves and waves, and in addition serve to bind the entire register together. 

Depth is not a consideration in this work; it is flattened beyond decorativeness to where all forms, including framing devices, reside on the same paper-thin plane. The disproportionate scale of the feminine figure, who seems to be attended by two smaller figures, does not contradict this. Static asymmetry describes the pictorial balance of this work. Visual elements do not reflect, but their arrangement is so sensitive to spacing that the work is quite stable.

Shapes that carry largely the same attributes dominate: Natural, figurative, organic and planar. There is some variation in size and gender quality. Dense, short strokes create leaves and water ripples. In the end, harmony is favored far more than contrast. While the register reads “western”, implying lateral movement, the orientation of all of them is straight-on. The result is a pleasing, graceful work that implies a leisurely sense of enjoyment of life by or on the Nile.