Image, order and place in Late Neolithic Malta

Abstract

Any attempt to interpret the images left hehind by a long-lost prehistoric culture runs the risk of failing as dismally as the adults in Saint-Exupery's novel myths; names: and emotions that were once conjured by such images are, to a large extent lost, forever. Faced with an image in isolation, it is difficult or impossible to decipher the representational codes that were used in its creation. 'When a group of images survives, the prospect of understanding them is somewhat by the patterns and between them. If the context in which were used is also known, this may permit further about the concerns they and the practices they were associated with. This paper reconsiders the for one such group of images, and attempts to make some inferences on their meaning and purpose. During the 4th and early 3rd millennia BC, the inhabitants of the Maltese islands developed a remarkable culture. This is best known for a series of ambitious megalithic monuments that were built across the archipelago. These buildings, which arc usually referred to as 'temples' in the literature, arc among the most remarkable that were built during the Late Neolithic, on account of their size as well as their complexity (Renfrew 1973) (fig.1). The use of images in association with these buildings has also attracted considerable attention. Much of this attention has focussed on the anthropomorphic statues and that are often found in these buildings. On the other hand, another class of sculpture has attracted much less discussion. This is the sculpture that is also found in the same complexes. These relief panels will be the main focus here.