The research was carried out by an international team from the University of York, the University of Stavanger and the National Museum of the History of Ukraine, with collaborators from Germany, supported by a Marie Skłodowska-Curie Action grant. Using high-resolution microscopic analysis and three-dimensional digital modelling, the researchers recorded the surfaces of eighteen figurines in extraordinary detail. That level of documentation would have been difficult under any circumstances, but it became urgent because access to the physical artefacts in Kyiv has been severely limited by the ongoing Russian-Ukrainian war. Digital scanning, undertaken as part of preservation efforts led by the Ukrainian NGO Archaїc, ensured that the objects could continue to be studied even while the war threatens the country’s cultural heritage.

The key discovery concerns two distinctive features of mammoth ivory that are invisible to the casual observer unless the surface has been carefully prepared: Schreger lines and Owen lines. Schreger lines are the shimmering, intersecting arcs that appear when elephantid ivory is cut in cross-section, produced by the spiralling arrangement of dentine tubules within the tusk. Owen lines, meanwhile, mark growth increments laid down as the animal matured, recording the rhythm of the mammoth’s life in stacked layers of mineralised tissue. Because a mammoth tusk is essentially an enormously elongated upper incisor, its material properties vary dramatically across the curve: dentine density, fibre orientation and the visibility of internal structure all change from the tip to the pulp cavity.

What the microscopic analysis showed is that the Mizyn carvers did not treat ivory as a passive blank canvas. Instead, they appear to have observed how these natural lines emerged as they shaped the material, and then deliberately reinforced, extended and organised them into the dense geometric ornamentation that distinguishes the Mizyn figurines. Rather than erasing the traces of the tusk, the engravers made the tusk’s biography visible, folding the animal’s growth history into the figure’s decorated skin. The result is that each figurine, carved from a different section of a different tusk, carries a unique internal topography that shaped its finished appearance.

Dr Aimée Little, of the University of York’s Department of Archaeology and Director of the Centre of Artefacts and Materials Analysis, described the discovery as 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, she said, a genuine breakthrough in understanding prehistoric art and material culture. The observation implies that Ice Age aesthetics were not purely symbolic inventions imposed from outside, but collaborative outcomes between maker and material.

The Mizyn figurines belong to a distinctive episode in the deep history of European art. Figurine-making flourished across the continent before the Last Glacial Maximum, the coldest peak of the last Ice Age, when generations of sculptors produced the well-known female forms of sites in France, Germany, Austria and beyond. The new analysis highlights a striking gap of roughly 1,000 to 3,000 years in the creation of human figurines across Europe, coinciding with that glacial peak, when much of the continent’s population retreated into southern refugia and long-distance social networks contracted. When figurine-making re-emerged around 18,000 years ago, it began earlier in Eastern Europe than in the West, and it looked different.

Dr Andrew Needham, also of the University of York’s Department of Archaeology, explained that while later Western European styles likewise featured abstracted female forms, none of them reproduced the internal tusk patterns seen at Mizyn. This, he noted, indicates that Ice Age artists in Eastern Europe forged their own independent artistic path rather than simply following trends transmitted from Western Europe. The finding challenges a long-standing assumption, articulated by Dr Dmytro Kiosak of the Leibniz Centre for Archaeology, that ancient art evolved in a straight line from basic to complex forms. Instead, the eastern tradition developed its own sophisticated technical logic rooted in the material properties of ivory, suggesting that the spread of Palaeolithic art was not a one-way diffusion of style from a handful of centres but a patchwork of local innovations.

The technical achievement implied by the figurines is considerable. To exploit Schreger and Owen lines, a carver must understand how ivory behaves when scraped, polished and engraved, and must anticipate which internal structures will become visible as material is removed from particular parts of the tusk. The Mizyn engravings, with their rhythmic zigzags, chevrons and meandering bands, appear to have been composed so that the decorative scheme harmonised with the underlying grain rather than fighting it. That kind of material literacy implies close observation, accumulated craft knowledge passed between generations, and an aesthetic sensibility that valued the dialogue between natural pattern and human design. In effect, the carvers were doing a form of applied anatomy of the tusk, turning growth biology into ornament.

Venus figurines have long been the subject of intense debate, with many theories proposed regarding their spiritual or ritualistic purpose, from fertility symbols to teaching aids, identity markers or objects of exchange. The new study does not resolve those questions, but it demonstrates the crucial elements of the artistry involved, showing that whatever the figurines meant to their makers, their appearance was inseparable from the medium. The mammoth, the largest animal of the Ice Age steppe, was present not only as raw material but as an organising principle of the artwork itself, its life history inscribed in the patterns that still cover the figures today.

The digital recording of the Mizyn collection also opens a path for future scholarship that is not hostage to war, politics or fragile museum storage. Simon Radchenko, a researcher at the Archaeological Museum of the University of Stavanger, said the team is optimistic that future digital research will shed more light on the emergence and development of artistic expression in Europe, revealing an even more complex and intriguing picture than the one currently known. Oleksandr Naumenko, a researcher at the National Museum of the History of Ukraine, added that projects like this not only deepen understanding of the past but also create new opportunities for research, and that 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. As the models are re-examined, the meandering lines of the Mizyn figurines may yet yield further secrets about the minds of the people who, eighteen millennia ago, looked into a mammoth tusk and saw art waiting to be released.

Subject of Research: Analysis of 18,000-year-old mammoth-ivory Venus figurines from Mizyn, Ukraine, showing Ice Age carvers incorporated natural tusk growth patterns into their engravings.

Article Title: Ice Age carvers used mammoth tusk patterns to create unique art, study finds

Article References: Ice Age carvers used mammoth tusk patterns to create unique art, study finds. (n.d.). Original publication

Image Credits: AI Generated

DOI: Not provided

Keywords: Ice Age art, Venus figurines, mammoth ivory, Schreger lines, Owen lines, Mizyn, Ukraine, Palaeolithic archaeology, Last Glacial Maximum, Heritage Science, 3D digital modelling, prehistoric engraving