Central Asian art

"The stepped pyramid design, also known as stepped cross or crenellation patterns, was a basic element in the decorative artwork of the southern areas. It was commonly used on pottery, woven textiles, jewelry, metalwork at the end of the 4th/early 3rd millennium at Namazga, Sarazm, and Helmand sites (Mundigak, Shahr-i Sokhta, and Rud-i Biyaban), and even recognized in a wall painting from the early 3rd millennium palace at Tal-i Malyan in Fars. The same design has been identified on 5% of the ceramic decoration of the Sintashta and Potapovka ceramic tradition. This is possibly among the earliest evidence of southern influence and movement of goods to the north. It subsequently became a standard design element also on Petrovka and Andronovo pottery. It has been suggested that the design was conveyed to the northern steppes on textiles, possibly one of the commodities exchanged for metal."

"The diffusion of double-spiral-headed pins across northern and southern Eurasia demonstrates that objects, and the idea behind them, propagate between and through cultures due to various mechanisms and for various reasons, and that they are often transformed. Perhaps this explains why the spirals and their variations are so geographically and culturally scattered. Yet, once in the Eurasian steppe, the pins undoubtedly took on a local and not a Central Asian shape, and possibly also another meaning. The foreign idea was translated into a local medium, functioning in a local setting with its specific and local significance. Characteristic material culture forms and materials are transportable, but their meanings can be re-shaped and re-applied to fit diverse sociopolitical settings and a different array of participants. Thus, while the double-spiral-headed pins may have indeed originally been first produced in southwestern Central Asia (after Europe and the Near East), once they found their way to the Eurasian steppe they took on an indigenous shape and meaning, with each case different from the others."