Intricate designs engraved across the surface of 18,000-year-old female figurines carved from mammoth ivory were inspired by the distinctive growth patterns visible in the tusks, a new study has revealed.
Caption
Ice Age craftspeople carefully observed and mimicked the natural lines of mammoth ivory in the art.
Credit
University of York
An analysis of 18 famous ‘Venus’ figurines found at the Mizyn campsite in Northern Ukraine shows that Ice Age craftspeople carefully observed and mimicked the natural lines of the ivory, using them to structure their artistic engravings.
The discovery was made possible using high-resolution microscopic analysis and 3D digital modelling. The artefacts were recorded as part of urgent heritage preservation efforts led by Ukrainian NGO Archaїc.
The team found that the carvers explicitly incorporated Schreger and Owen lines, which are the natural growth rings found in mammoth tusks, into the surface patterns of the figures.
The teams at the University of York, University of Stavanger, and the National Museum of the History of Ukraine, who were behind the discovery, said the findings challenged traditional views on how Stone Age art evolved across Europe.
Dr Aimée Little at the University of York’s Department of Archaeology and Director of the Centre of Artefacts and Materials Analysis at the University of York said: “This discovery offers an extraordinary window into how Palaeolithic peoples perceived and engaged with their material world.
“Identifying visual evidence of how mammoths were integrated into artistic traditions, both through the use of their ivory and the deliberate inscription of its natural patterns, represents a genuine breakthrough in our understanding of prehistoric art and material culture.
Due to the ongoing Russian-Ukrainian war, access to the physical artefacts at the National Museum of History of Ukraine in Kyiv was limited, making digital scanning essential to ensure their preservation and study into the future.
The analysis highlights a significant gap of 1,000 to 3,000 years in the creation of human figurines across Europe, coinciding with the Last Glacial Maximum - the coldest peak of the last Ice Age.
Dr Andrew Needham, from the University of York’s Department of Archeology, said: “When figurine-making re-emerged around 18,000 years ago, it began earlier in Eastern Europe than in the West. While later Western European styles also featured abstracted female forms, none reproduced the internal tusk patterns seen at Mizyn.
“This indicates that Ice Age artists in Eastern Europe forged their own independent artistic path rather than simply following trends from Western Europe.”
There are many theories regarding the spiritual or ritualistic purpose of ‘Venus’ figurines of the Stone Age, but this new study demonstrates the crucial elements of its artistry.
Simon Radchenko, researcher at the Archaeological Museum, University of Stavanger, said: “We are optimistic that our future digital research will shed more light on the emergence and development of artistic expression in Europe, showing an even more complex, and intriguing picture than we have now.”
Oleksandr Naumenko, researcher at the National Museum of the History of Ukraine, added: "Projects like this not only deepen our understanding of the past but also create new opportunities for research. At a time when war continues to threaten Ukraine's cultural heritage, creating high-quality digital records of artefacts is a crucial step in preserving them."
The international project, published in the Nature partner journal Heritage Science, brought together experts from Ukraine, Norway, Germany, and the UK, supported by a Marie Skłodowska-Curie Action grant.
Dr Dmytro Kiosak, from the Leibniz Centre for Archaeology, said: “Our findings challenge the long-held assumption that ancient art simply evolved in a straight line from basic to complex forms.”
