Download RLGN 3185

Mitchel 1
Alyssa Mitchel
RLGN 3185
Professor Shreibman
27 Mar. 2013
Syncretism: Assimilation, Preservation and Interpretation
Between the third and seventh centuries CE during the Byzantine Era (Ness), numerous
synagogues flourishing throughout Israel incorporated several mosaic panels with zodiac and
astrological symbols into their holy sanctuaries (Kampen, 304). The elegant floors of various
synagogues encompassed both Greco-Roman elements, including the Sun god Helios, as well as
Hebraic and Jewish concepts such as the names of righteous ancestors including Abraham, Isaac
and Jacob (Zanger). One could argue that the Jews of the Byzantine Era were widely influenced
by Hellenistic ideas. This paper will examine three major synagogues and how they were
impacted by ancient Hellenistic art and astrology.
The first synagogue mosaic of any sort to be discovered was in Naaran, located in the
Jordan Valley (Encyclopedia Judaica, 14:714) about 6.5 miles from modern Jericho (Ness). In
1918, a portion of the mosaic was found at the site by Australian troops when a Turkish shell
exploded (Ness) and some of the surviving portions were transported to Sidney (Encyclopedia
Judaica, 14:714). For the next three years, archaeologists L.H. Vincent and B. Carriére excavated
the site and dated the synagogue back to the sixth century CE (14:714). The mosaic pavements
that Vincent and Carriére encountered were discovered to be parts of a synagogue that consisted
of a courtyard, pool, antechamber and hall (Ness). While portions of the mosaic were destroyed
as a result of the Turkish artillery shell (Zanger) other astonishing parts have survived (Ness).
Within the entrance hall of the courtyard is the mosaic of an odd menorah, containing an unusual
twelve flames (Ness). Within the main portal there are two gazelles “and geometric designs in
the aisles” (Encyclopedia Judaica, 14:714). The central part of the synagogue consists of four
Mitchel 2
panels (Ness). The first and largest panel contains several circles and polygons divided by
geometric patterns (Ness). The second panel, also known as the zodiac panel, includes female
figures and additional symbols in the four corners representing the seasons, as well as a picture
of “Sol Invictus, the deified sun” in the center (Ness). The third panel incorporates the biblical
scene of Daniel in the lion’s den (Encyclopedia Judaica, 14:714). Lastly, the fourth panel
demonstrates that this monument was indeed a synagogue as it contains “Jewish symbols,
particularly the Ark which held the Scrolls of the Law, standing between two menorahs…vases
resembling mosque lamps…[and] another Hebrew inscription listing more donors” (Ness).
Synagogues such as Naaran during the Byzantine Era demonstrate the ancient Jewish peoples’
ways of integrating Greco-Roman and Hellenistic traditions while maintaining their own
religious beliefs. The mosaic panels in the Naaran synagogue demonstrate this combination of
assimilation and preservation.
Above: Two mosaics from the Naaran synagogue: Torah tabernacle with curtain on left
(Lessing) and a section of the zodiac panel with inscriptions on right (“Outside Mosaics
Museum”).
Mitchel 3
At the end of December 1928, a work crew from kibbutz Beth Alpha was digging a canal
when archaeologists Eliezer Lippa Sukenik and Nahman Avigad encountered pieces of a mosaic
(Zanger). For seven weeks starting on January 9, 1929 (Zanger), a crew of archaeologists
excavated the site. They found that the entire floor of the synagogue was paved with mosaics
including the courtyard, narthex, aisles and nave (Encyclopedia Judaica, 3:509). The crew was
able to date the mosaics to the time of Emperor Justin the First, who reigned from 518-527 CE
(Masino). The archaeologists measured the complete mosaic structure in the Beth Alpha
synagogue to be twenty-eight meters long and fourteen meters wide, leading to three panels in
the central apse (Zanger). The crew encountered a square panel between two rectangular panels
(Zanger).
The first panel, The Offering of Isaac, shows Abraham preparing to sacrifice his son,
Isaac, as the hand of God reaches from heaven to stop Abraham (Encyclopedia Judaica, 3:509).
Abraham’s two servants and donkey stand in the background while a group of palm trees
separate this first scene from the next panel, The Signs of the Zodiac (3:509). This middle panel,
which was the first to be discovered, contains four women in the four corners of the square
(Zanger). Located in each corner are Hebraic inscriptions that identify each woman as a season
of the year: Tishri, Tevet, Nisan, and Tammuz (Encyclopedia Judaica, 3:509). In the center of the
panel is a young man (thought to be Helios, the god of the sun) riding a four-horse chariot
(Zanger). The last panel is The Ark of the Synagogue, where the ark consists of a gable roof with
an ‘”eternal light” suspended from its top and two birds perched at its corners; on either side is a
lion with a seven-branched menorah… and between them are depicted lulavim (palm branches),
etrogim (citrons), a shofar, and censers” (Encyclopedia Judaica, 3:509). It is without a doubt that
Mitchel 4
Jewish synagogues were deeply inspired by Hellenistic astrology, zodiacs, gods and art, while at
the same time they gave these principles their own Judaic interpretations (Ness).
More technically accomplished mosaic floors were discovered during the twentieth
century, including two major synagogues in Hammath Tiberias. Hammath in fact means “hot
springs” and the monument consists of a group of hot springs along the western shore of the Sea
of Galilee (Ness). Hammath became well known when Herod Antipas established the city of
Tiberias near the springs between 18-19 B.C.E (Ness). Tiberias was both a Hellenistic city and a
prominent rabbinic center between 300 to 429 CE, and “the Jewish Patriarchs, whom the
Romans allowed to function as hereditary supreme judges of Jewish law…had their headquarters
in Tiberias” (Ness). Writer and archeologist Nathan Slouschz discovered the first synagogue in
Hammath Tiberias in 1920 (Encyclopedia Judaica, 8:307). This synagogue, which was dated as
in use from the third to fifth centuries CE, was paved with mosaics and included pieces of the
cathedra (seat of Moses) as well as a seven-branched stone menorah carved out of limestone with
holes for oil (Langfur).
Another group of synagogues were discovered in 1947 while workmen were expanding a
bathhouse in Hammath (Langfur). Excavation did not formally begin until 1961, when the
diggers encountered a chain of synagogues (dating between the first and sixth centuries CE) built
on top of one another (Langfur). The most notable of the synagogues was built in the fourth
century CE, containing breathtaking mosaic floors (Langfur). This synagogue, built in the form
of a basilica with a mosaic pavement, includes “a dedicatory inscription flanked by two lions; a
zodiac of a high artistic standard with the sun god Helios on his chariot in the center and the
representations of the four seasons in the corners, the Ark of Law…[and] Inscriptions in Greek
and one in Aramaic” (Encyclopedia Judaica, 8:307). Specifically, the mosaic includes nine
Mitchel 5
dedicatory inscriptions in Greek that commemorate different patriarchs (Ness). These
inscriptions have enabled historians to date the mosaic, as the Byzantine Emperor Theodosius II
abolished the Jewish patriarchate in 429 CE (Ness).
Other intriguing images of the zodiac mosaic at Hammath Tiberias include the depiction
of Sol Invictus (the official sun god of the Roman Empire) who holds a whip and globe, and has
rays and a halo around his head (Ness). Moreover, a crescent moon is shown under the figure’s
right arm and a seven-pointed star is beneath his left, signifying the importance of solar
symbolism (Ness). The contrasts and parallels between Greek and Jewish imagery within such
intricate mosaics demonstrate the ability of the ancient Jewish people to successfully adapt to
and incorporate Hellenistic ideas. At the same time, Jews used Greco-Roman “horoscopes,
spells, and symbols…in a Judaic way for Judaic purposes” (Ness) in order to preserve and
sustain their religion and culture.
Artistically, the synagogues in Naaran, Beth Alpha and Hammath Tiberias were
significantly impacted by ancient Roman mosaics of the Hellenistic era. All three of the
aforementioned synagogues incorporated major themes of Roman mosaics. The Romans, who
gained both power and influence “through the conquest of Greece in the 2nd century BC”
(Milani-Santarpia) successfully allowed mosaics to flourish and evolve during the Hellenistic
age. Roman mosaics included geometric patterns such as opus tesselatum, pavements formed of
small cubes and literally defined as “checkered work” (Smith, 116). Another technique included
opus signinum, cubes of pounded brick and lime, made of tiles fragmented into smaller pieces
and mixed with mortar (Walters, 109). Lastly, in the opus sectile technique, instead of having
several small cubes, shapes in the mosaic were produced from larger pieces (Walters). Mosaics
also incorporated repetitive compositions across an entire floor to give a sense of a three
Mitchel 6
dimensional effect (Milani-Santarpia). Another major theme of Roman mosaics included
figurative patterns. For example, Romans either stretched an image across an entire floor or
constrained the image to the center or “emblema” (Milani-Santarpia). Specifically, the Romans
defined their mosaics, known as opus musivum as “the art of decorating the surface of a wall or
pavement in imitation of painting by means of small fragments of stone, terra-cotta, or coloured
glass paste, embedded in cement” (Walters, 108). All of these artistic themes in Roman mosaics
were incorporated in the synagogues of Naaran, Beth Alpha and Hammath Tiberias during the
Byzantine Era, further demonstrating the significant impact that this style of Roman art had on
Jewish synagogues.
Above: An example of an opus tesselatum mosaic from the third century CE in the Piazza della
Stazione Termini, Rome (Nguyen). Notice the small, distinct cubes that create the cohesive
image.
Clearly, it is without a doubt that these three synagogues were also significantly
influenced by Greco-Roman astrology. As the synagogues in Naaran, Beth Alpha and Hammath
Tiberias demonstrate, in multiple panels of the mosaics, artists incorporated several Hellenistic
Mitchel 7
symbols such as zodiac signs, Sol Invictus, Greek words and Apollo’s horse-drawn chariots. The
practice of Hellenistic astrology (George) displays “a threefold systematic character” including a
system of concepts (such as the cycles and conditions of planets), a system of meanings (such as
the twelve signs of the zodiac) and a system of topics including the seasons of life (Schmidt).
This three-fold system evidently inspired Jews from the Byzantine period. In addition to creating
astrological mosaics, there is evidence of rabbinic literature and manuals referring to astrology
during the Byzantine Era (Ness). However, as historian Lester J. Ness explains in his doctoral
dissertation, “During the Hellenistic period, Jews adopted the practice of astrology
enthusiastically, but they gave the principles of astrology their own Judaic interpretation. Thus,
the planets were still imagined as personal beings, who might answer requests. But the beings
were seen as subordinates of the single God, angels of YHWH, not independent deities.” Thus,
the Jewish people incorporated Hellenistic zodiacs and symbolism into their own religion by
allowing the power of astrology to come from YHWH (Ness). Ancient Jews were inspired by the
Greco-Roman concepts of forces and cosmology, but they adapted these symbols to their own
religion (Zanger). As writer Walter Zanger concludes in his work, the charioteer in several
mosaics represents God, who rules over the “seasons, the rain, the land and the elements” and
has graciously given the Torah and made a covenant with his people. Hence, one probable
interpretation is that the zodiac mosaics demonstrate YHWH’s powers and concerns regarding
the universe and His people.
After examining three distinct Jewish synagogues from the Byzantine Era, it is clear that
the zodiacs were not just dainty decorations but rather Greco-Roman symbols that the Jews
implemented for their own uses (Langfur). As part of assimilating into a widely influential
Hellenistic civilization, the ancient Jewish people demonstrated the need to assimilate into the
Mitchel 8
greater surrounding society, while staying faithful to YHWH and ancient Jewish traditions
(Langfur). The combination of purely Hellenistic zodiac and astrological signs with artistic
scenes from the Torah demonstrate that in order to continue living in an ever-changing and
rapidly-advancing society, one must be able to balance his or her roots with society’s new
customs and dynamics. As a result, many groups such as the Jews used Greco-Roman art and
astrology as the foundations of interpretation in order to suit their own needs and beliefs (Ness).
Before beginning the paper, I was convinced that I would be writing about Roman
mosaics during the Hellenistic period. Therefore, I started my research by examining the
different styles of Roman mosaics. However, since a major focus of this course is on Judaism
during the Greco-Roman period, I began to grow curious about ancient Jewish mosaics,
specifically in Israel. As I continued to research, I was both fascinated and astounded when I
encountered abundant information regarding synagogues with several mosaics incorporating
Hellenistic idols. I was both intrigued and confused by the ample zodiac and pagan symbols that
were integrated into these synagogues. As a Jewish individual, I am aware of the Second
Commandment that states:
You shall not make for yourselves an idol, nor any image of anything that is in the
heavens alone, or that is in the earth beneath, or that is in the water under the
earth: you shall not bow yourself down to them, nor serve them, for I, Yahweh
your God, am a jealous God, visiting iniquity of the fathers on the children, on the
third and on the fourth generation of those who hate me, and showing loving
kindness to thousands of those who love me and keep my commandments. (The
New Oxford Annotated Bible, Exodus 20:4-6)
Mitchel 9
Therefore, as I conducted further research I was puzzled by the fact that the Jews of the
Byzantine Era seemed to be going against the Second Commandment. At first, I viewed the Jews
of the Byzantine Era synagogues to have created these highly Hellenized mosaics as a result of
strong oppression by major Greco-Roman forces. However, after further research, I came to the
conclusion that the Jewish people who created and implemented these images in their
synagogues chose to do so not due to coercion, but rather as the result of assimilation.
Researching and reading about the positive impacts that Greco-Roman art and astrology had on
several syncretized Jews helped me to come to this new understanding. As I contrasted Judaism
during the Byzantine Era with Judaism today, I came to the conclusion that Jews are not required
to be totally isolated from the rest of the human race nor dissenters of their religion (Ness). This
notion allowed me to come to the generalization that within any changing society, several groups
may adapt but this does not necessarily mean that they are abandoning their own religions or
cultures.
After analyzing three distinct Byzantine Era synagogues and how they were impacted by
Hellenistic art and astrology, my next steps would be to examine rabbinic literature and manuals
pertaining to astrology. As historian Lester J. Ness explains, there are records of rabbinic
astrological documents from the Byzantine Era. Examining these documents would allow me to
further develop my understanding on the role and importance of astrology in a Hellenized Jewish
society. Researching these documents and being able to compare and contrast them with the
astrology depicted in the mosaics of the Byzantine Era synagogues would enable me to arrive at
a stronger conclusion regarding how the ancient Jews interpreted Hellenistic astrology.
Mitchel 10
Works Cited
Avi-Yonah, Michael. “Bet Alfa.” Encyclpedia Judaica. 2nd Ed. 2007. Print.
Avi-Yonah, Michael. “Hammath.” Encyclpedia Judaica. 2nd Ed. 2007. Print.
Avi-Yonah, Michael and Shimon Gibson. Encyclpedia Judaica. 2nd Ed. 2007. Print.
Bleiberg, Edward. “II. Synagogue Archaeology.” JHOM.com. Jewish Heritage Online Magazine,
n.d. Web. 11 Mar. 2013.
George, Demetra. Demetra George. Demetra George, n.d. Web. 13 Mar. 2013.
Kampen, Natalie Boymel. “Museum Review: Synagogue Mosaics.” American Journal of
Archaeology Vol. 110 No. 2 (Apr., 2006): 301-306. JSTOR. Web. 11 Mar. 2013.
Langfur, Stephen. “Hammat Tiberias and its Synagogues.” Netours. Near East Tourist Agency,
2008. Web. 14 Mar. 2013.
Lessing, Erich. Israel Mosaic 5th. Lessing Photo Archive. Web. 22 Mar. 2013.
Masino, Marcia. StarIQ.com. StarIQ.com, Inc., 2013. Web. 11 Mar. 2013.
Meyers, Eric M. “Sepphoris.” Encyclpedia Judaica. 2nd Ed. 2007. Print.
Milani-Santarpia, Giovanni. Mariamilani. Giovanni Milani-Santarpia, n.d. Web. 11 Mar. 2013.
Ness, Lester J. “Astrology and Judaism in Late Antiquity: A Dissertation.” Diss. Miami
University, 1990. Oxford, Ohio: Ness, 1993. Web.
Nguyen, Marie-Lan. Opus Tesselatum. Britannica Online Encyclopedia. Encyclopedia
Britannica, Inc., 2013. Web. 22 Mar. 2013.
“Outside Mosaics Museum.” Biblewalks. Bible Walks, 8 Feb. 2011. Web. 22 Mar. 2013.
Schmidt, Robert H. Project Hindsight. The Golden Hind Press, 2005. Web. 12 Mar. 2013.
Mitchel 11
Smith, D.J. “Chapter Five: Mosaics.” A Handbook of Roman Art: A Comprehensive Survey of all
the Arts of the Roman World. Ed. Martin Henig. Ithaca: Cornell University Press, 1983.
116-117. Print.
The New Oxford Annotated Bible: with the Apocrypha. Eds. Brettler, Marc Z., Newsom, Carol
A., and Perkins, Pheme. New York: Oxford UP, 2007. Print. New Rev. Standard Vers. 4th
ed.
Virginia, Mavrika. "Pergamon (Antiquity), Mosaics." Encyclopaedia of the Hellenic World, Asia
Minor. 2008. Web.
Walters, Henry Beauchamp. The Art of the Romans. London: Methuen and Co. Ltd., 1928. Print.
Zanger, Walter. “Jewish Worship, Pagan Symbols: Zodiac Mosaics in Ancient Synagogues.”
Biblicalarcheology.org. Biblical Archaeology Review, 24 Aug. 2012. Web. 11 Mar.
2013.