The earliest systematic depictions of vegetal motifs in prehistoric art appear on painted pottery vessels of the Halafian culture of northern Mesopotamia, c. 6200–5500 BC. The motifs are varied, representing flowers, shrubs, branches and trees. The first part of our analysis deals with four major questions. What was chosen to be depicted? How common were the vegetal motifs? What was the distribution of these motifs? And why were vegetal motifs introduced in this particular era? The second part of the analysis deals with the Halafian skills of symmetry and precise division of space. The depictions of flower petals in the geometric sequence of the numbers 4, 8, 16 and 32, as well as 64 flowers in another type of arrangement, point to arithmetical knowledge. We argue that in the early village communities of the Near East the ability to make precise divisions was relevant to various needs, such as equal sharing of crops from fields that were collectively cultivated by a number of families, or the whole village.

The earliest systematic depictions of vegetal motifs in prehistoric art appear on painted pottery vessels of the Halafian culture of northern Mesopotamia, c. 6200–5500 BC. The motifs are varied, representing flowers, shrubs, branches and trees. The first part of our analysis deals with four major questions. What was chosen to be depicted? How common were the vegetal motifs? What was the distribution of these motifs? And why were vegetal motifs introduced in this particular era? The second part of the analysis deals with the Halafian skills of symmetry and precise division of space. The depictions of flower petals in the geometric sequence of the numbers 4, 8, 16 and 32, as well as 64 flowers in another type of arrangement, point to arithmetical knowledge. We argue that in the early village communities of the Near East the ability to make precise divisions was relevant to various needs, such as equal sharing of crops from fields that were collectively cultivated by a number of families, or the whole village.