Abstract
The Victorian architect, Owen Jones (1809-1874) authored The Grammar of
Ornament in 1856, which included one hundred chromolithograph plates of ornamental
patterns. The book comprised design theories and historical descriptions of ornaments,
differentiated geographically and chronologically. Moreover, he devoted the last chapter
to botanical motifs to create a new ornamental style.
Studies of The Grammar of Ornament have arrived at the following assessments:
First, previous studies have focused on Jones’s interest in Islamic art from the
perspective of Orientalism. Second, several studies have stressed his ‘37 Propositions’
in association with Formalism and Modernism. Third, some studies have pointed out the
impact of The Grammar of Ornament on Alois Riegl’s Stilfragen of 1893.
However, Jones placed importance on colour rather than form in his propositions.
None of the studies have investigated why he allocated 21 propositions to colour, or its
significance in his writings. This paper aims to show how he constructed a belief system
of polychromy and presented the colour principles in The Grammar of Ornament
by examining his travels, design practices and treatises. I have re-examined his
propositions to establish the unification of colour and form.
