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Palmette also called anthemion (from the Greek ανθεμιον, a flower) is an art style based on the fan-shaped leaves of a palm tree. It was largely employed in the Greek/Roman era to decorate:
Description The upper part of the motif consists of five or more leaves or petals fanning rhythmically upwards from a single triangular or lozenge-shaped source at the base. In some instances fruits resembling palm fruits hang down on either side above the base and below the lowest leaves. The lower part consists of a symmetrical pair of elegant 'S' scrolls curling out sideways and downwards from the base of the leaves. The upper part recalls the thrusting growth of leaves and flowers, while the scrolls of the lower part seem to suggest both contributing fertile energies and resulting fruits. It is often present on the necking of the capital of ionic order columns; however in column capitals of the Corinthian order it takes the shape of a 'fleuron' or flower resting against the abacus (top-most slab) of the capital and rising out from a pair of volutes which, in some versions, give rise to the elaborate volutes and acanthus ornament of the capital. In the repeated border design commonly referred to as anthemion the palm fronds more closely resemble petals of the honeysuckle flower, as if designed to attract fertilizing insects. Some compare the shape to a hand with outstretched fingers - explaining the commonality and derivation of the 'palm' of the hand. In some forms of the motif the volutes or scrolls resemble a pair of eyes, like those on the harmika of the Tibetan or Nepalese stupa. In some variants the features of a more fully-developed face become discernable in the palmette itself, while in certain architectural uses, usually at the head of pilasters or herms, the fan of palm-fronds transforms into a female face and the volutes into breasts.
Evolution Among the oldest forms of the palmette in ancient Egypt was a daisy-like lotus flower emerging from a 'V' of foliage resembling the setting or rising sun, a more fully-developed palmette similar to the forms found in Ancient Greece, a version consisting of 3 lotus blooms on tall stems (the middle one higher than the other two), a lotus bloom between two upright buds, and a lotus bloom with a drooping bud on either side. Rising and setting sun and opening and closing lotus are linked by the Osiris legend to day and night, life and death and the sacrifices made by the dead to live in the underworld while watching over the realm of the living. Most early Egyptian forms of the motif appear later in Mesopotamia, Assyria and Ancient Persia, including the daisy-wheel-style lotus and bud border. In the form of the palmette that appears most frequently on Greek pottery, often interspersed with scenes of heroic deeds, the same motif is bound within a leaf-shaped or lotus-bud shaped outer line. The outer line can be seen to have evolved from an alternating frieze of stylized lotus and palmette. This anticipates the form it often took - from renaissance sculpture through to baroque fountains - of the inside of a half scallop shell, in which the palm fronds have become the fan of the shell and the scrolls remain at the convergence of the fan. Here the shape was associated with Venus or Neptune and was typically flanked by a pair of dolphins or became a vehicle drawn by sea-horses. Later, this circular or oval outer line became a motif in itself, forming an open C-shape with the two in-growing scrolls at its tips. Much baroque and rococo furniture, stucco ornament or wrought-iron work of gates and balconies is made up of ever-varying combinations these C-scrolls, either on their own, back to back, or in support of full palmettes. Variants and related motifs The palmette is related to a range of motifs in other cultures and periods. In ancient Egypt palmette motifs existed both as a form of flower and as a stylized tree, based on a palm tree. Other examples from ancient Egypt are the alternating lotus flower and bud border designs, the winged disc with its pair of ureus serpents, the eye of Horus and curve-topped commemorative stele. Similar lotus flower and bud borders, closely associated with palmettes and rosettes, also appeared later in Mesapotamia. There appears to be an equivalence between the horns of horned creatures, the wings of winged beings including angels and the scrolls or volutes at the base of the palmette; there is also an underlying 'V' shape in each of these forms that parallels the association of the palm itself with victory, energy and optimism. Similar forms are found in the hovering winged disc and sacred trees of Mesapotamia, the ubiquitous scrolled scallop shells in the canopy of the renaissance sculptural niche, originating in Greek and Roman sarcophagi, echoed above theatrical proscenium arches and on the doors, windows, wrought iron gates and balconies of palaces and grand houses; the shell-like fanlight over the door in Georgian and similar urban architecture, the 'gul' and 'boteh' motifs of Central Asian carpets, the trident of Neptune/Poseidon and both the trident and lingam of Shiva, the vajra thunderbolt, diamond mace or enlightenment jewel-in-the-lotus of Tibet and South-East Asia, the symmetrically scrolled cloud and bat motifs and the similarly scrolled ju-i mace and fungus of longevity of the Chinese tradition. Even everyday garden gates throughout Western suburbia are topped with almost identical pairs of scrolls seemingly derived from the palmette and from the Egyptian winged sun-disk. Churchyard gates, tombs and gravestones bear the motif over and again in different forms. Issues of interpretation Ornamental motifs are often treated as though they were pleasing elements of decoration but devoid of meaning, or their meaning is considered to be lost and indecipherable. It is assumed that particular motifs were chosen by craftsmen because they or their patrons were fond of them. This is reinforced by the absence of commentary on meaning or rationale for choice of motifs from the myriad potters, draftsmen, sculptors and metalworkers who have worked with the motif. However the palmette is a good example of a motif which, even if its meaning is not articulated by the craftsmen themselves, lends itself to meaningful interpretation in view of the consistency of the functional context and positioning in which it recurs throughout its long history and its continuing use by artists. The possibility also exists that the meaning of ornamental motifs became, or had always been, esoteric knowledge for a select group and was not openly passed on. One reason for this would be the importance to any form of artistic medium of individual observers arriving at a personal revelation of meaning through direct contemplation and experience. The idea of the perpetuation of traditions of esoteric knowledge by close-knit groups seems to be reinforced by the striking use of the palmette and related motifs at key moments in Hollywood films (Titanic, Star Wars, The Island) without the audience receiving any explanation or otherwise being made explicitly aware of the reasons or significance. Deducing meaning from context and placement Both in ancient and in modern usage, in East and West, the grouping of motifs we have discussed has a sacred, auspicious and often magical or miracle-working connotation, further incorporating a sublimation of sexual union and fertility. The palmette is not randomly used or placed as if for decoration only but is typically located above the head, at the apex of roofs and tympana and over ritual spaces such as niches, altar pieces and fireplaces. It is found in a protective, guardian role at boundary passages such as bridges and gates, over other openings such as doors, windows and balconies, and as the standard ornament for door handles and keyhole masks. It is all-pervasive at the dinner table - a shared ritual transformation of the material to the spiritual - being the basis of the traditional designs of chair backs, silverware, dinner plates, serving bowls, ceiling rose, lampshades and other items which still find echoes in many contemporary versions. It is the principal ornament in the picture frames of fine paintings, whose essence is often the capture of moments of revelation, annunciation and rebirth, and over mirrors, which also reveal, and is a central feature of war memorials, denoting remembrance in perpetuity of those who have given their lives for others. It is still very commonly used as an emblem by fairground magicians and fortune tellers, and until recently was found prominently on one-armed bandit gambling machines, juke boxes and cash registers. Common themes The placement of the palmette motif in ancient Egypt was on tomb walls, on funereal monuments, on death masks, mummy canopies and on door lintels. It is associated both with death and with life, and seems to have been thought of as offering passage or mediation between the two worlds, as between heaven and earth. The oldest appearance of the related group of motifs is at the crown of Egyptian funerary stele depicting sacrificial offerings intended to earn passage to eternal life. Its use in religious architecture from ancient Greece to the baroque remained faithful to this original association. The common theme is the attainment of self-transcendent grace through dedication, sacrifice and love. The experience and wisdom of past generations has been distilled and organized into the seductive discipline of a beautiful image - an organic replication template guiding future growth and development. A. Mayne 212.243.38.122 16:41, 3 November 2005 (UTC) References This article incorporates text from the 1911 Encyclopædia Britannica, which is in the public domain. Additions to this article contributed by A.Mayne acknowledge information and ideas drawn from the following publications in addition to own research and observations: 1. Jessica Rawson, Chinese Ornament: The Lotus and the Dragon; ISBN: 0714114316, British Museum Pubns Ltd, 1984 2. Alois RIEGL, Stilfragen. Grundlegungen zu einer Geschichte der Ornamentik. Berlin 1893 All text is available under the terms of the GNU Free Documentation License
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