The likelihood that Palaeolithic artisans sometimes used natural objects as models for their image-making has long been suggested, yet well-contextualized and stratified examples have remained rare. This study examines a series of natural and fabricated items from the Natufian settlement of Wadi Hammeh 27 in Jordan (12,000–12,500 cal.bc) to propose that the site occupants collected a variety of found objects such as fossils, unusually shaped stones and animal bones, which they utilized as templates in the production of geometric art pieces. Natural and fabricated objects were woven into complex schemes of relation by Natufian artisans. Existing patterns were copied and applied to a variety of representational images. Found objects were sometimes subtly modified, whereas at other times they were transformed into finished artefacts. The scute pattern on the tortoise carapace, in particular, appears to have formed the basis of important ritual beliefs across the Natufian culture area. At Wadi Hammeh 27, it was evoked in various media and at various scales to form interrelating tableaux of representation.

中文翻译：

---

Natufian 艺术的自然灵感：来自约旦 Wadi Hammeh 27 的案例

旧石器时代的工匠有时使用自然物体作为他们的图像制作模型的可能性早已被提出，但具有良好背景和分层的例子仍然很少见。本研究检查了来自约旦 Wadi Hammeh 27 的 Natufian 定居点（12,000–12,500 cal.公元前) 建议现场居住者收集各种发现的物品，如化石、形状异常的石头和动物骨头，他们将其用作制作几何艺术作品的模板。Natufian 工匠将天然和人造物品编织成复杂的关系方案。现有模式被复制并应用于各种代表性图像。发现的物品有时会被巧妙地修改，而有时它们会变成成品。尤其是乌龟甲壳上的盾牌图案，似乎已成为整个纳图夫文化区重要仪式信仰的基础。在 Wadi Hammeh 27，它在各种媒体和不同尺度上被唤起，以形成相互关联的表现形式。