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82 chapter four Figure IV-18. Daniel in the Lions’ Den in wall paintings and sarcophagi.
iblical narrative themes and images: representation, origin, and meaning 83 Several copper strips, presumably from a liturgical box probably from a church and found at Umm al-Kundum, Jordan are decorated with medallions in relief. among them is the scene of Daniel flanked by a pair of lions (Piccirillo 1993: 316, fig. 657). At Sfax (and Bordj-el-Ioudi) in North Africa Daniel in the Lions’ Den is depicted in an 5th-6th century Early Christian tombmosaic; Dunbabin (1978: 191-2, pl. 191) argues that this representation is a standardized motif modelled on designs decorating mass-produced earthenware, pottery, and lamps. A relief from Thasos, dated to the 6th century, shows Daniel in the Lions’ Den wearing Persian-Phrygian attire. His hands are in orans posture and he is flanked by a lioness on his right and a lion on his left (Grabar 1963: 48, pl. 17; Mathews 1993: 77-78, fig. 55). Scholars relate the theme of Daniel in the Lions’ Den to a death cult and assume that the scene symbolizes a person who is saved because of his beliefs. Goodenough (1953, II: 129) maintains that the Daniel scene at Na#aran symbolizes victory over death, as illustrated by the word shalom. Grabar (1968: 8) contends that figures such as Daniel, Noah, and others in Christian funerary art are ‘allegories of the soul of the pious believer and of Christ as the shepherd’ (see Berliner-Landau 1994 for a different interpretation). The theme of Daniel in the Lions’ Den, in contrast to the other Biblical scenes found on synagogue pavements, is depicted symbolically and not in the narrative style used elsewhere. The representation of a figure flanked by lions might have been enough to suggest the theme to observers, because the story concerns only Daniel himself and the lions. The Twelve Tribes The nave pavement of the Yaphi‘a synagogue, which is mostly destroyed, was probably divided into panels, of which only the westernmost has survived. It shows a square panel containing a large circle, within which another, smaller circle is inscribed. In the space between the two circles twelve small interlacing circles appear. Unfortunately only two of these circles have survived (Sukenik 1951: 6-24, fig. 5, pls. VIII, IXa). The central circle contains a bull facing right, and the other circle, which is badly damaged, depicts the head of a horned animal with two feet facing left (fig. III-2). Above its head only three Hebrew letters have endured: םיר [פא]. Presumably this is the name Ephraim, one of the twelve tribes, whose symbol is a wild ox. The other bull probably represents another tribe-Manasseh. Sukenik (1951: 18) maintains that the circles contain the symbols of the twelve tribes. This, he asserts, is illustrated by a passage in Midrash Rabba (BaMidbar 82) which says, regarding the two surviving circles, ‘...On the flag of Ephraim was embroidered a bull (or ox)... On the flag of the tribe of Manasseh was embroidered a wild ox’. However, a discrepancy exists here, as the sign of Ephraim in the mosaic is the wild ox, and the sign of Manasseh is the bull (Sukenik 1951: 20-23; but see Goodenough 1953, I: 217-218; 1964, VIII: 168, who suggests that this mosaic portrays a zodiac). The Yaphi‘a circle design however is a different scheme from the Jewish zodiac (see also Naveh 1978: 70). This design is unique and has not been found in any other symbolic or iconographic portrayal in ancient Jewish art. Moreover, its theme probably does not describe a biblical story but originates in Rabbinical literature. The Consecration of the Tabernacle, Its Vessels, Aaron, and the Daily Offerings The depictions on bands 3 and 4 of the nave mosaic at Sepphoris are connected. They show three of the Tabernacle vessels: the water basin, the altar (on band 3), and the Shewbread Table (on band 4, centre panel); remnants of Aaron the priest, the sacrificial animals—a bull and two lambs (rams), an oil jar, a flour basket, two trumpets (on band 3), and a fruit basket (on band 4, right panel). Some of the images are accompanied by explanatory inscriptions in Hebrew (pl. IV.7; fig. IV-19a). Weiss and Netzer (1996: 20-22; Weiss 2005: 77-94) interpreted these two bands as ‘The Consecration of Aaron to the Service of the Tabernacle and the Daily Offering’ depicted on band 3 and the left panel of band 4. They are an illustration of Ex. 29. The two right panels of band 4 contain the Shewbread Table and the baskets of First Fruits (Weiss and Netzer 1996: 24; Weiss 2005: 94 -104). The Consecration of the Tabernacle and its vessels, the daily offerings, and the dedication of Aaron are described in Ex. 29: 39-40. Band 3 at Sepphoris shows from right to left: a partially destroyed water basin placed on a base
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294 glossary
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Ψ ή φ ο ς ס פ י ס פ Ancie
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contents To my beloved granddaughte
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contents CONTENTS List of Color Pla
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contents C Pastoral and Rural Scene
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list of color plates xi LIST OF COL
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list of color plates xiii V.4 Nilom
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list of color plates xv Mt. Nebo; g
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list of color plates xvii Authority
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list of figures xix LIST OF FIGURES
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list of figures xxi Figure IV-15. D
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list of figures xxiii Figure VIII-5
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list of figures xxv LIST OF TABLES
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foreword xxvii FOREWORD התדיב
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One of the most significant and fru
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pavement at Caesarea the word is sp
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mosaic pavements adorning buildings
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Introduction: Jewish Figurative Art
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Figure II-3. Beth "Alpha synagogue:
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to the Sefer HaRazim Yahoweh reside
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ut all served as repositories for t
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pomegranates and cups (Hachlili 200
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open ark with scrolls is depicted,
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are rendered in non-identical symme
Page 61 and 62: pavements of Samarian synagogues an
Page 63 and 64: of two columns surmounting an arche
Page 65 and 66: A group of ancient synagogues disco
Page 67 and 68: the zodiac panel and its significan
Page 75 and 76: the bust of the season Nisan (Sprin
Page 77 and 78: The Summer attributes, the sickle a
Page 79 and 80: Table III-1. Comparative chart of t
Page 81 and 82: Figure III-12. Part of a stone ceil
Page 83 and 84: A Roman villa at Odos Triakosion in
Page 85 and 86: the four seasons, representing the
Page 87 and 88: iblical narrative themes and images
Page 95 and 96: Noah’s Ark biblical narrative the
Page 111: iblical narrative themes and images
Page 121 and 122: Jonah biblical narrative themes and
Page 127 and 128: Nilotic scenes are a recurrent them
Page 129 and 130: iconographic elements of nilotic sc
Page 131 and 132: I.1 Masada mosaic pavements: a. ant
Page 133 and 134: I.3 Jerusalem, Upper City, pavement
Page 135 and 136: II.1 Torah shrine panels on synagog
Page 137 and 138: II.3 Comparable shrines on Jordan m
Page 139 and 140: III.1 Hammath Tiberias synagogue zo
Page 141 and 142: III.3 Beth "Alpha synagogue zodiac
Page 143 and 144: III.5 Sun God on synagogue pavement
Page 145 and 146: III.7 Zodiac signs on synagogue pav
Page 147 and 148: III.9 Zodiac signs on synagogue pav
Page 149 and 150: III.11 The four seasons on synagogu
Page 151 and 152: IV.1 Binding of Isaac on synagogue
Page 153 and 154: IV.3 David-Orpheus on the Gaza syna
Page 155 and 156: IV.5 The Orpheus mosaic, Jerusalem.
Page 157 and 158: IV.7 Sepphoris synagogue, The Conse
Page 159 and 160: V.1 Nilotic scene at Beth Leontis,
Page 161 and 162: V.3 Nilotic scene at Sepphoris Nile
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eagle. Another Nilotic scene appear
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shown standing on the river bank as
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The depiction of a putto riding a c
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Table V.1. Nilotic Elements on Byza
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Nile Festival mosaic, with the addi
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The ‘inhabited scroll’ became o
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donkey. Lively animal chase scenes
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naturalistic in execution, and unli
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which contains objects flanked by s
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Figure VI-7. Group II: Jerusalem, t
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the outer ones; the second survivin
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Table VI-1a. Composition and Repert
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Group III consists of the mosaics e
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the ‘inhabited scrolls’ mosaic
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Figure VI-13. Beth She"an, Monaster
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Figure VI-15. Sede Nahum mosaic fra
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Table VI-2a. (Cont.) Mosaic Date ce
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Table VI-2b. (Cont.) Mosaic Date ce
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In the south aisle of St. George ch
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four amphorae in the centre of the
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On Jordanian mosaics, in the acanth
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to have grapes of both styles (pl.
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ightly observes that the different
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grape harvesting, pastoral, and hun
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Rural activities and pastoral scene
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Table VII.1. Vintage scenes on vine
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Figures Treading Grapes and the Pre
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The forerunners for these vintage s
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Snake and Mongoose Confrontation Th
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Table VII.2. Animal chase and comba
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iconographic aspects of rural life
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scenes are found in the mid-5th- to
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Table VII.3. Big Game Hunting scene
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likewise surround the basin of the
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the cathedral at Madaba (Piccirillo
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443, 455-6, 466) holds that this ty
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Personification is a common theme o
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Rivers of Paradise, but only two of
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irds, apparently created by the Fou
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in an intercolumnar space (Church o
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the seasons with deliberate differe
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personification of natural forces 1
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crook Spring’s attribute at the B
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personification of natural forces 1
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while in mosaics of the Greek East
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Moon, as the partner of Sun, is a b
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Animals in a repeated antithetic sy
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designs of symmetrical antithetic a
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(Ovadiah 1987: 105) and at the Naha
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a bear, a lion and a destroyed anim
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long-horned deer drinking from a sp
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iconoclasm on mosaic pavements of s
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A significant subject in ancient ar
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These compositions with division in
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frequent ornamentation of the synag
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(Ovadiah 1987: 68): A cross within
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Some scholars propose that depictio
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V.5 City representations: a. Beth L
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V.7 The sail boat: a. Beth Leontis,
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VI.1 Gaza synagogue pavement.
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VI.3 Jerusalem ‘Armenian’ churc
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VI.6-8 Petra Church: North Aisle mo
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VI.8
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VI.10 The church of the Deacon Thom
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VI.12 Amphorae depicted on inhabite
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VI.14 Bird of prey on inhabited vin
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VI.16 Baskets on inhabited vine scr
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VI.18 Vine leaves and bunches of gr
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VI.20 Subdued animals: a. Be’er S
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VII.2 Transporting grapes: a. El Ha
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VII.4 Flute player: a. Beth She’a
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VII.6 Snake and mongoose confrontat
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VII.8 Dog chasing hare/rabbit on ch
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Inhabited Vine Scrolls Pavements A
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similar in the general depiction of
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etween synagogue and church 233 Fig
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part are evidently connected: almos
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etween synagogue and church 237 Fig
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Mukhayyat (Bagatti 1949: 99, pl. 29
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time. They might have contained gen
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Artists, workshops and schools of m
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• The same artisans are mentioned
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1933: 146, No. 23, 8; 1934: 73 =198
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characteristically mixed origin of
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The Sepphoris Mosaicists The Seppho
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on horseback spearing a leopard wit
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Odysseus fighting the monster Scyll
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Figure XII-6. Hall A mosaic, Monast
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mosaicists, workshops, and the repe
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Dating The Monastery was dated by i
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connections with Egypt, and perhaps
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different themes based on comparabl
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esults were mosaics in the old Diak
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Jews toartists and craftsmen. Among
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epeated use was supplemented by fre
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of designs from general pattern boo
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concluding remarks, comments, and o
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list of sites 289 LIST OF SITES Sit
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Site Date Centuries CE Jordan (Arab
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VII.10 Jabaliyah Diakonikon mosaic
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VII.12 Hunter/soldier on foot with
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VII.14 Feline with cub: a. Gaza syn
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VII.16 Shepherd: a. Be’er Shem‘
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VII.18 Figure leading camel: a. Kis
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VII.20 Fishing: a. Beth Loya, two e
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VIII.2 Seasons: a. Caesarea: Spring
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VIII.4 Beth She’an monastery, Hal
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IX.2 Flanking birds: a. Beth Shean,
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IX.4 a. Huseifa, unidentical menoro
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X.2 Susiya synagogue: a. panel Tora
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X.4 Jabaliyah church, north aisle.
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XI.2 Crosses on mosaic pavements: a
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XI.4 Tabgha, Church of the Multipli
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XII.2
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XII.4 Beth Leontis, Beth She’an:
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XII.6 Similarities between animals:
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XII.8 Similarities between animals
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glossary 293 GLOSSARY Aedicula Ston
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list of sites 295 ABBREVIATIONS ACR
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Abel, F. M. 1924 Décourvertes réc
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1969 Antike Mosaiken in Kilikien, I
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2001 The Nilometer, in Measuting an
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The Art of Byzantium and the Mediev
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1995 The Activity of the Mosaicists
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1971 The Secret of the ‘En Gedi I
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