Malta’s prehistoric representations of the human figure mark some of the more important achievements in the history of art. The archipelago’s prehistoric communities had a long tradition of creating figurines and small statues. The Red Skorba and Zebbug phases represent early stages of this unique tradition. But it was during the Tarxien phase that this unique genre of artistic creativity reached remarkable levels of achievements.

Heads

Only a few figurines and statues with heads have actually been discovered. As a rule, heads were found separate from figurines suggesting that some statues were designed to have interchangeable heads. A number of figurines suggest that original heads may have been lost through accidental or intentional breakage.

Heads come in a variety of sizes and materials comprising stone and clay. Characteristics and features vary, so that items are not identical. Some heads reflect several common cultural features such as general styles of composition and fashionable traits such as hair arrangements.

Phallic Symbols

Phallic symbolism reflects a number of concerns that were artistically represented by means of different stone and ceramic creations. Traditional interpretations link these symbolic representations with fertility rites. Of particular interest is the grouping of phallic representations as well as the clear association of phalli with architectural features.

Tarxien Style Figurines

The Tarxien Style captures several eye-catching features which are common to a particular set of figures. The largest of these, that coming from Tarxien, may have once stood at a height of about 2m, thus making it one of the world’s oldest monumental statues. Smaller representations in the same style, possibly by the same artistic school of craftsmen, came from other parts of the Tarxien temples as well as far away Tas-Silg, in the South of Malta.

The Hagar Qim Group

The Hagar Qim group of seated or squatting figures represent a single group composition in which individual statuettes were carved to complement and mirror a companion thus giving the impression of ‘twinning’. The figures are headless, but some have a specially carved shaft with counter holes designed to hold a head. The Hagar Qim group suggests that in some cases, figures were originally meant to have separate heads.

The Venus of Malta

The ‘Venus of Malta’, from Hagar Qim, is a remarkable representation which reflects a high level of artistic achievements in modeling. In particular, the back of this figurine reflects a very realistic rendering of anatomical features. The seated figurine from Tarxien as well as the fragment from the Hypogeum, reflect a departure from conventional representations that followed established cannons with the use of more realistic compositions.