Symmetry Comes of Age: The Role of Pattern in Culture (review)

This book is a companion volume to Symmetries of Culture: Theory and Practice of Plane Pattern Analysis, by the same authors. Washburn and Crowe, with colleagues from varied disciplines, applied the method of "symmetry analysis" to actual case studies from a number of disparate cultures. The essays in this book discuss their rather remarkable findings. It "is dedicated to a discussion of the application of the principles of geometric symmetry to the study of decorated artifacts, and to the exposition of cultural insights gained from such study" (p. 3).

Symmetry analysis is an academic process or tool used to explain how artworks reflect patterns of human behavior and fundamental values. It is especially useful in analyzing symmetrical designs belonging to tribal, folk and ancient cultures. It is not difficult to see why this book won the George Wittenborn book award, as it is an extremely well-researched scholarly investigation and is highly readable as well.

The book is well illustrated with black-and-white photographs and drawings, together with a sprinkling of color photographs. There is a list of contributors, a good index, a fascinating introduction by Washburn and Crowe, and 10 chapters that, for the most part, each cover a specific case study.

The Introduction stresses just how important pattern and symmetrical design are in virtually all cultures and how specific designs characterize individual cultures, yet some elements and motifs are found in the works of other societies that are isolated from each other geographically.

While the last chapter, concerning Turkish nomadic weavers, does mention Islamic religious influences, I think it does so all too briefly. In fact, if I have any criticism of this book, it is that it does not adequately deal with religious influences on symmetrical pattern design. Islamic culture and art is especially relevant here, as its restriction to nonfigurative representation has developed abstract symmetrical pattern design to an extraordinarily high level. Also, the mandalas of Tibet are complex and wonderful examples of symmetrical pattern that represent this culture's spiritual belief system. Perhaps a third volume could address this specific issue in more detail?

To be fair, the book does not make any claims regarding comprehensive representation of all cultures. This approach would result in an impossibly large volume or, alternatively, allow only a very superficial discussion of each culture. As the editors remark, "Readers will now have a broad range of studies of cultural symmetries to draw upon as clues and guideposts for the development of models [my emphasis] of past cultural principles and practices" (p. xiv). Possibly the most profound contribution made by Symmetry Comes of Age: The Role of Pattern in Culture is as a reference work for future scholars to use in further analyses of those cultures not already discussed.