Palaeolithic engraved portable art provides a valuable record for investigating the technical aspects of Palaeolithic graphic production. In this study, we analyse an engraved portable art object from the Epigravettian sequence of Grotta Paglicci (southern Italy): a Bos primigenius mandible bearing a figurative representation interpreted as a waterbird, possibly a swan. The analysis combines 3D digital microscopy and geometric morphometrics to reconstruct the sequence of engraving gestures and to quantitatively characterise the morphological variability of the incisions. Archaeological engravings are compared with experimentally produced marks obtained using different lithic tools displaying similar trihedral active edges (burins and unretouched flakes). In addition, experimental and archaeological cut marks from the same Epigravettian context are included for comparative purposes. The results allow the reconstruction of the sequence of gestures involved in the production of the figure, revealing a structured execution comprising contour engraving, internal filling and the addition of secondary elements. Morphological and morphometric analyses show low variability among the engravings, pointing to a high degree of motor control throughout the engraving process. The predominance of U-shaped cross-sections in the archaeological sample, compared with the experimental engravings, is consistent with the use of a previously used and/or partially smoothed cutting edge. These results highlight the potential of integrated technological and morphometric approaches for investigating gestures, technical choices and operational organisation underlying the production of Upper Palaeolithic portable art.
Arrighi et al. (Wed,) studied this question.
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