Untitled

to the Sefer HaRazim Yahoweh resides’. Berliner
(1994: 213-215) maintains that the tripartite panel
design has a permanent formulation of three
topics: the Temple, the wheel of the zodiac, and
salvation—all three regarded as part of the Creation
pattern. Sed Rajna (2000: 49) claims that the
design probably reflects a visual transcription of
a philosophical theory of the tripartite division of
the universe according to the metaphysical (the
Torah ark), the cosmic (the zodiac), and the terrestrial
(the ‘Aqedah: the Binding of Isaac) realms.
Kühnel (2000: 41, 43) maintains that in the Beth
"Alpha mosaic ‘each of the components of the
composition emphasizes a complementary aspect
of the same idea: the upper part insists on the
continuity of cult as a warrant of fulfillment; the
zodiac wheel dwells upon the eternity of natural
phenomena by God, and the binding of Isaac is
a historical message’.
The structured design of seven panels at Sepphoris
is interpreted by Weiss and Netzer (1996:
38-39; Weiss 2005: 239-249, fig. 5) as containing
a programmatic layout. The lions flanking an
inscription represent verification and validation;
the jewish symbols panel 21
Figure II-8. Huseifa synagogue plan with tripartite nave mosaic pavement.
the architectural façade and other symbols associated
with the Tabernacle and Temple represent
the future redemption; the zodiac expresses
God’s centrality in creation, in his promise, and
in redemption; the Angels’ visit to Abraham and
Sarah and the Binding of Isaac symbolize the
promise. Weiss (2005: 243) believes that the Sepphoris
mosaic expresses by visual means redemption
motifs and the longing for the re-establishing
of the Temple cult, a concept which is also verbally
articulated in prayer, midrash, and piyyut.
Furthermore, Weiss (2005: 255) contends that
the entire iconographic composition at Sepphoris
conveys a religious and social message and
reflects the main issues at the core of the contemporary
Judaeo-Christian controversy. Some
scholars assert priestly circles influence on the
ornamentation of the synagogue, especially generating
and inspiring the renditions of the Tabernacle
and Temple (Rutgers 1999; Yahalom
2000: 90-91; Levine 2003: 121-127; but see Weiss
[2005: 247-249] for a rejection of the proposal of
priestly influence).