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Recent finds of 36 ceramic artifacts from the archaeological site of Vela Spila, Croatia, offer the first evidence of ceramic figurative art in late Upper Palaeolithic Europe, c. 17,500–15,000 years before present (BP). The size and diversity of this artistic ceramic assemblage indicate the emergence of a social tradition, rather than more ephemeral experimentation with a new material. Vela Spila ceramics offer compelling technological and stylistic comparisons with the only other evidence of a developed Palaeolithic ceramic tradition found at the sites of Pavlov I and Dolní Věstonice I, in the Czech Republic, c. 31,000–27,000 cal BP. Because of the 10,000-year gap between the two assemblages, the Vela Spila ceramics are interpreted as evidence of an independent invention of this technology. Consequently, these artifacts provide evidence of a new social context in which ceramics developed and were used to make art in the Upper Palaeolithic.

This paper analyzes the gestures and technologies used to make Paleolithic portable art. Contextualized within the theoretical schools of the anthropology of technology and using the chaîne opératoire methodology, the approach advanced here quantifies the relationships between technology, society, and aesthetics in the production of Paleolithic art. Focusing on Pavlovian art, dating to between 28,000 and 24,000 radiocarbon years BP, this paper assesses the suite of art production technologies, particularly those used when modifying and decorating ivory, and traces the relationship between decorative techniques and other characteristics of art. These analyses offer insight into Pavlovian art traditions and the emergence of innovative techniques in Paleolithic societies.

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This paper examines interactions between co-occupants of riverine niches in North West