The Iron-Age Eurasian nomads created and circulated elaborate metalworks embellished with images of entwined, abbreviated, or contorted zoomorphic anatomies. This approach to zoomorphism has entered scholarly discourse under the blanket name “animal style,” a term often used to describe a vast corpus of zoomorphic images associated with the arts of steppe pastoralists. Numerous Warring States burials across the Ordos Loop indicate the transmission and adaptation of steppe-inspired zoomorphism into the funerary cultures of China's northern zone (beifang diqu 北方地區) and the Eastern Steppe more broadly. In the Han dynasty, animal-style images seem to have been transmitted even more widely, reaching China's southern periphery at the Kingdom of Nanyue 南越 and Lelang 樂浪 in the northern Korean peninsula. The Xianbei hegemony in the post-Han period marked a new trajectory for these designs, which reached Kofun Japan in the fifth century. Thus, the original trans-steppe visual formula underwent significant regional and local translations on a material and conceptual level to fit already established Chinese design strategies, techniques, and conceptions of animality. In this essay, I explore the regional alterations applied to the “supra” animal-style visuality in the Chinese northern periphery and other regions of Chinese political influence in North and Central Asia. In so doing, I seek to understand the swift entry of nomadic visual tropes, namely a specific “pars-pro-toto” device, into the visual vocabulary of early Chinese craftsmen from the Eastern Zhou to the Northern dynasties.

Thirty-six Atlantic flesh-hooks are documented, classified and discussed after critical evaluation of previously identified examples and the addition of new ones. A chronological progression is shown from the more simple classes to the more complex from 1300 to 800 cal BC, but even the latter examples begin as early as c.1100 cal BC. Although highly distinctive, the Atlantic series derives ultimately from similar hooked instruments to the east and newly recognized Sicilian examples introduce an alternative path of dissemination from the more usually accepted intermediary route of the Urnfield culture. The rarity of flesh-hooks is striking and understanding of their social role needs to take into account not only their marked individuality in terms of technological construction or iconographic features, but also their relationship to other contemporary prestige feasting gear. The distributions of flesh-hooks and rotary spits are mutually exclusive over most of Atlantic Europe; thus, not only did they function differently at a practical level, but also at an ideological one. On the other hand, flesh-hooks and cauldrons have very similar distributions but they have a paucity of direct associations. Rather than implying a limited functional relationship, this is interpreted as resulting from their different symbolic meanings and thus different depositional practices. The zoomorphic imagery encountered on Atlantic spits and occasionally on flesh-hooks is found to be unique to each instrument and thus seen to contrast with that of the Urnfield world, suggesting the signalling of tribal or clan identity rather than an over-arching symbolism.