Issue link: https://maltatoday.uberflip.com/i/1525069
10 gozotoday | FRIDAY • 9 AUGUST 2024 CULTURE CLOSER to the heavens and the gods, birds in flight have always fascinated earth-bound humans. Invoking a sense of freedom and ambition, they have inspired Greek myths and aircraft engi- neers aspiring to reach the same lofty heights. With their livelihood and chances of survival closely tied to favourable harvests, the ancients keenly observed the skies to determine when to sow and reap. The megalith- ic structures of Ġgantija were built by a farming community that tilled the land with their livestock, living the rhythm of their lives in harmony with the passage of the seasons. Indeed, various bas-reliefs of animals found at the Tarxien Prehistor- ic Complex and the astronom- ical alignments of Ħaġar Qim and Mnajdra lend credence to the theory that these mon- umental edifices hosted some form of communal rites associ- ated with agricultural produce and seasonality. The phenomenon of migra- tion is captured for posterity in a sherd of Neolithic pottery which originally formed part of a carinated bowl made of local clay and which is on display at the Ġgantija Archaeological Park Interpretation Centre. Created roughly around 5000 years ago, the fragment belongs to a period of heightened artis- tic activity in Maltese prehisto- ry commonly referred to as the 'Tarxien Phase'. This period is characterised by the creation of elaborate decorative schemes inside the megalithic monu- ments, figurative sculptural work and intensified ceramic production, which features a large variety of techniques and elegant decorative motifs. According to Daphne Sant Caruana, the Principal Cura- tor for Ġgantija Archaeological Park, "This astonishing range of creative output reinforces the notion of a highly sophis- ticated and organised society with a strong sense of cultural identity." The fragment of pottery is decorated with a flying bird design that is singular because of its departure from other typical motifs that feature on Neolithic ceramic recipients in the national collection. "It cap- tures the idea of a flock of birds flying in perfect synchrony so effectively," Daphne enthuses. The birds are depicted flying in a formation of three parallel rows. Upon closer inspection, the lower birds appear to be larger and more deeply incised than the ones above. "In order to create a greater artistic ef- fect and a deeper contrast, the grooves are also filled with a white paste," Daphne explains. The sherd represents a direct link between a lost Neolith- ic race and modern-day bird watchers, a natural phenom- enon that continues down the centuries to take place each year. Incredibly, it doesn't take much detective work to elic- it the identity of the birds in question. "Although the design is high- ly stylised, we are still able to make an informed decision about the particular species of bird etched on the ceram- ic fragment. The prominent crests and sharp pointed tails, in fact, suggest that they may be northern lapwings which migrate in flocks over the Mal- tese Islands during the winter months," Sant Caruana points out. Daphne describes the 'flying bird' sherd as one of her fa- vourite artefacts because "it represents the idea of beauty that transcends time. Thou- sands of years ago, the inhabit- ants of Gozo wanted to capture the beauty of a flock of birds flying in perfect unison, possi- bly evoking the same emotion- al experience that still inspires our imagination today." The sherd was discovered quite by accident in 1954, when attempts were made to locate a curious Neolithic structure be- low the terrace boundary wall of Ġgantija that features prom- inently in an early 19th-cen- tury watercolour by the Ger- man-Danish artist Charles Frederick de Brocktorff. Al- though the 'doorway' was nev- er discovered, archaeologists were rewarded by the discovery of this ceramic sherd. Daphne believes that the highly sophisticated design on the fragment of the carinated bowl could indicate that the vessel might have once had a ceremonial use. Its signifi- cance, however, lies not only in its aesthetic values but also because it brings into sharper focus the connection and un- derstanding that people in the Neolithic had of the natural world. "I find it so remarkable that such a small artefact can tell us so much about people and, to some extent, even their values," Daphne concludes. Visit Heritage Malta's web- site (store section) to acquire Gozo combo tickets, saving you time and money, and to watch Daphne Sant Caruana speaking about the sherd in the Treasure to Meet You section. Parallel realities – the flying bird sherd The fragment of pottery is decorated with a flying bird design that is singular because of its departure from other typical motifs that feature on Neolithic ceramic recipients in the national collection