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Hellenistic, not oriental, in character, with evident
Parthian influence. He believes that Goodenough,
albeit for the wrong reason, was right in suggesting
that the place of origin of Jewish figurative
art (out of Alexandria, Antioch, and Babylon ) was
Alexandria: this was also the centre of Jewish Philonic
mysticism that may have inspired the paintings.
The Hellenized Jews of Alexandria wished
to make Judaism respectable and attractive in
the eyes of the gentiles by giving the religion a
Greek form.
Rousin (1985: 194) contends that the process
of conflation and selection of the images from
a common source or sources accounts for the
difference in the depictions of the biblical story,
rather than any distinction between Christian and
Jewish iconography. Nevertheless, the Binding of
Isaac and the Noah story are rendered similarly
in almost all Christian examples, which differ significantly
from the Binding of Isaac at Beth "Alpha
and Sepphoris and from the Noah scene on the
Gerasa and Misis pavements.
The mosaic scenes and the Dura synagogue
painted panels show some long established artistic
tradition, itself probably combining diverse traditions,
a mixture of east and west with new elements
added (Gutmann 1984a: 1332). Although
some of the mosaic scenes and the Dura paintings
are reminiscent of Graeco-Roman art, the iconography
attests to local influence, where, apart from
the addition of specific Jewish symbols, many of
the formulae, schemes, postures, costumes, and
objects are similar to local art found also in other
structures and other art modes.
The Binding of Isaac is depicted on the mosaic
pavements of Beth "Alpha and Sepphoris synagogues
by a similar formula, although the Beth
"Alpha mosaic is an example of local, popular art
(which Sukenik [1932: 42] maintains may contain
iconographic influences from Alexandria). Some
of the figures like Daniel and Orpheus are usually
dressed in Persian pants, a tunic, and a Phrygian
cap. This, Mathews (1993: 84) maintains, is a
costume that by the 4th century ‘had come to
designate not just foreigners but specifically oriental
magicians’. Daniel at Na#aran is similar to
the same scene appearing in Christian iconography.
David in Gaza portrayed as Orpheus exhibits
Hellenistic and Byzantine influences in its depiction
and iconography.
The biblical subjects of the synagogue pavement
mosaics and the Dura Europos synagogue
paintings do not seem to have one general theme,
or to have been chosen at random; nor do they
seem to illustrate the bible as a whole. Specific
chapter four
books and events are illustrated. Composition and
style, as well as the conventional iconographic
repertoire, designate that the sources for the episodes
to which the artists could refer were readily
available. Most likely, the artists, community leaders,
and donors consulted pattern book s. These
would contain Jewish motifs, themes, and biblical
stories that would naturally be included as subject
matter for the decoration of synagogues.
C. Interpretation and Significance
The biblical narrtive scenes on synagogue mosaics
such as the Binding of Isaac and Noah’s
Ark show the ending of the tale. They are generally
based on the biblical story, with the addition
of other literary sources. The essential part of
the story refers to the intervention by God, the
rescue, and the hope of salvation. The depictions
of Daniel in the Lions’ Den, David-Orpheus, the
Sepphoris Consecration of Aaron to the Service
of the Tabernacle and the Daily Offering, the
Shewbread Table, and the Basket of First Fruits
are symbolic images of the biblical tales; or, as in
the End of Days, an image is created to illustrate
a biblical citation. In the case of Jewish or Christian
illustrations of the End of the Days (Peacful
Kingdom) the accompanying text from Isaiah is
not accurately cited but is arranged so that the
appropriate clause is above each particular pair
of animals.
Space for mosaics, wall paintings, and in other
media was limited, so the scenes illustrate the
tale in a concentrated or symbolic way. The text
merely provides an explanation for the picture,
giving the names of the persons and objects, and
sometimes part of the appropriate biblical verse
is quoted. By contrast, illuminated manuscripts
have the deliberate intention of illustrating a text.
Their purpose is to illuminate, track, and explain
the written biblical text.
The biblical scenes were depicted in simple
narratives, although some of the scenes as a whole
may have had symbolic meanings. Common to
them all was an illustration of the theme of salvation
(Shapiro 1960: 11, Avigad 1969: 68) and
they were associated with prayers offered in times
of drought (Avi-Yonah 1975: 53). Some of these
subjects were part of the prayers, such as ‘Remember’
and ‘He that answereth...’ (Sukenik 1932: 56
and note 4; but see Goodenough I: 253, who suggests
a symbolic meaning connected with Eastern
mystery religions). The choice of themes arose
from the religio-cultural climate of the age, and