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Throne decorated with rectangular plaques possibly representing ivory inlays in drawing on Pithos A from Kuntillet >Ajrud (Schroer 2018: No. 1585).
Source publication
A seal impression found on a bulla from the City of David depicting a throne and two winged discs may corroborate the assumption that the conceived image of Yahweh in Iron II Jerusalem was of a human-like form. Through a succinct description on the emergence of the hegemonic concept that negates any (conceived) material aspects of Yahweh, a distinc...
Citations
... Even though biblical scholarship is still far from a consensus in detail, 2 Hebrew Bible scholars came to realise that the second commandment is not to be un derstood as a general prohibition of images, but has to be analysed in view of the multifaceted image terminology provided in the biblical texts (Exod 20:4 ‖ Deut 5:8;Exod 20:23;34:17;Lev 19:4;26:1;27:15) and within its complex literary growth (see Uehlinger 2019). It is important to realise that these texts concern material cultic imagery (Kultbilder) exclusively and do not pertain to verbal imagery/metaphors (see Hossfeld 2003, 12) or the general way a deity was envisioned (see Ornan 2019). In light of the numerous and various divine images in the archaeological record (see below) and considering the "old" question of whose images are actually banned in the biblical texts, it is important to distinguish heuristically between images of YHWH and those of other gods (see Frevel 2003a, 35). ...
... First, when analyzing (an)iconic tendencies within ancient Israelite religion, a sharp dis-[13] tinction between aniconism and iconism does not do justice to the evidence at hand. In many cases, the attribution of an object to an iconic or an aniconic cult is rather difficult, since the definitional boarders are hard to establish and are closely related to the definition of "image," "representation," "symbol," "emblem," etc. (see Ornan 2005). Furthermore, the archaeological and iconographic data of ancient Israel/Palestine attests to a fluid transmission and an unproblematic coexistence of iconic, partly iconic and aniconic elements and cults. ...
In light of three important trends and developments within recent research—first, the interpretation, the dating and the literary growth of the second commandment (Exod 20:4 ‖ Deut 5:8); second, the reevaluation of ancient Israel’s origins; and, third, the continuously increasing archaeological and iconographic record—the article surveys potential representations of YHWH from pre-exilic and post-exilic times in order to evaluate them against the background of YHWH’s origins. Without aiming at a clear identification of YHWH imagery, the study analyses a broad range of iconographic material: anthropomorphic and theriomorphic figurines, the motif of “the lord of the ostriches,” a cult stand from Taanach, the Bes-like figurines on the drawings from Kuntillet Ajrud, humanoid figures on a sherd from a strainer jar, the motif of an enthroned deity on a boat, the so-called horse and rider figurines and a famous Yehud coin depicting a deity on a winged wheel. Based on this evidence, it will be argued that the iconographic data can and should be included as a verifying or falsifying perspective into the discussion about YHWH’s origins. In order to fulfill this function, the iconographic evidence has to be studied without a specific religious-historical reconstruction in mind. Instead, the full range of possible interpretations and the polyvalent character of the imagery in particular should be taken into account.
In this article, the authors analyze a widespread Persian-period terracotta figurine type in the Levant: the seated man with an atef crown or a cylindrical tiara and a hand touching his beard. As well as studying the specific attributes and the evolution of this iconography, the authors will address its association in cultic contexts with another figurine: the pregnant woman. By providing new arguments to identify the bearded man and the pregnant woman as (mainly) divine images, which are at the same time associated and distinct, the authors stress that the idea of a divine couple in an “open relationship” is of pivotal importance in understanding the organization of ancient polytheisms.
In this ground-breaking study, Robin Baker investigates the contribution ancient Mesopotamian theology made to the origins of Christianity. Drawing on a formidable range of primary sources, Baker's conclusions challenge the widely held opinion that the theological imprint of Babylonia and Assyria on the New Testament is minimal, and what Mesopotamian legacy it contains was mediated by the Hebrew Bible and ancient Jewish sources. After evaluating and substantially supplementing previous research on this mediation, Baker demonstrates significant direct Mesopotamian influence on the New Testament presentation of Jesus and particularly the character of his kingship. He also identifies likely channels of transmission. Baker documents substantial differences among New Testament authors in borrowing Mesopotamian conceptions to formulate their Christology. This monograph is an essential resource for specialists and students of the New Testament as well as for scholars interested in religious transmission in the ancient Near East and the afterlife of Mesopotamian culture.
In this article, we discuss the seals used by the central administrative apparatus of Judah (later: Yehud and Judea) to mark jars intended to store wine and oil produced by its estates – a practice that developed in the late eighth century BCE and lasted until the late second century BCE. The longevity of the practice and the continuity of various aspects, such as the morphology of the jars and the location of the administrative focal points, have shown the stamped jars to be a nuanced tool for the study of the history of Judah throughout the long age of the empires. In what follows, we contextualise the images used in several phases of the system within their broader context and suggest their meaning as official insignia. We further propose a framework for assessing the absence of icons in the other phases.
