Huqoq Mosaics

continued from page 35 All these colorful, populated mosaics are cer- prophet, having fled aboard a ship from his divinely tainly precious in their own right—as unique works appointed mission of announcing the destruction of of art and a testimony to ancient craftsmanship. the city of Nineveh, is cast into the sea by his ship- But the historical significance of the Huqoq syna- mates ( 1:1–2:1). The scene is surrounded by gogue extends beyond the narrow confines of art numerous marine and maritime images, including history. The Huqoq excavations provide evidence vignettes drawn from daily life: a small fishing boat of a rural Jewish community in Lower Eastern with a man casting a net on the right-hand (east) Galilee that constructed a monumental side and two men in loincloths wringing out a fish- building paved with magnificent mosaics. Our dis- ing net. Prominently represented in the center of coveries contradict the impression conveyed by Artistic the panel is a large sailing ship manned by five sail- textual sources that Jews suffered under Byzan- ors, two of whom are climbing the mast. A bearded, tine Christian rule. Apparently at least some Gali- partially balding, gray-haired man in the center of lean Jewish settlements flourished in the fifth the ship—perhaps the captain—lowers a rope with a and sixth centuries. The similarities between the loop at the end. Immediately below the rope, Jonah’s Huqoq mosaics and those in the nearby synagogue legs and feet can be seen dangling from the mouth at Khirbet Wadi Hamam—including depictions of of a large fish, which is being swallowed by two , Pharaoh’s soldiers drowning in the Red successively larger fish. The depiction of three fish Sea, and the building of the Tower of Babel— swallowing Jonah is another example of a midrashic suggest that Jewish congregations in this part of Influences embellishment to the Biblical story. Lower Eastern Galilee found these stories particu- In the sky to the left of the ship, three hybrid larly meaningful. in Synagogue Mosaics creatures, each with the thighs, torso, and head of At the same time, our discoveries raise a host of a woman and the wings, rump, and feet of a bird, new questions, including how the Huqoq villagers stand on a storm cloud. The trio is dancing and could afford to construct such a large and richly Putting the Huqoq Synagogue in Context playing musical instruments (a flute and a lyre), decorated building, and when and why the syna- attracting the attention of a sailor who points at gogue was abandoned. Perhaps continuing excava- Karen Britt and Ra‘anan Boustan them from the top of the ship’s mast. The combi- tions will provide some answers. In the meantime, nation of their hybrid form, the storm cloud, and the site of Huqoq is closed to the public. The mosa- the musical performance leaves no doubt that these ics have been removed for conservation, and the bird-women represent Harpies (Greek mythological excavated areas are backfilled. Hopefully the site The excavations in the monumental the scenes depicted in the Huqoq mosaics differ personifications of the storm winds) and Sirens (as will be developed for tourism after our excavations synagogue in the ancient village of Huqoq have sharply from what has long been considered the in Homer’s Odyssey). Although the story of Jonah are completed.4 a unearthed a series of colorful and vivid floor mosaics standard program for ancient in Galilee— was popular in early Christian art, this is the first 1 For interim reports, see Jodi Magness et al., “Huqoq (Lower populated with figural scenes that have captivated both in terms of artistic themes represented and the definite depiction of the narrative discovered in an Galilee) and Its Synagogue Mosaics: Preliminary Report on scholars and non-specialists alike.* Many of these ways they are employed. So to what extent are the ancient Jewish context. the Excavations of 2011–2013,” Journal of Roman Archaeology works of art are not only remarkably well preserved, stunning Huqoq mosaics unusual, and what do they 27 (2014), pp. 327–355; Jodi Magness et al., “The Huqoq The panel to the south of the Jonah scene shows Excavation Project: 2014–2017 Interim Report,” Bulletin of the but also of surprisingly high quality. reveal about Jewish society in Late Roman Galilee? the construction of the Tower of Babel (Genesis 11:1– American Schools of Oriental Research 380 (2018), pp. 61–131. The evidence amassed at the Huqoq synagogue In tackling the challenges presented by what ini- 9) and God’s punishment of the people for building Also visit the excavation’s website at huqoq.web.unc.edu. since the inception of the project in 2011 is now ripe tially appeared to have been anomalous or unique 2 For a discussion of Samson’s significance, see Matthew a tower intended to reach to heaven. At the center J. Grey, “ ‘The Redeemer to Arise from the House of Dan’: for initial investigations into the features of the Huqoq mosaics, we of the scene, a square tower is under construction. Samson, Apocalypticism, and Messianic Hopes in Late relationship of its decorative pro- have found it productive to con- Various aspects of the process, including the quarry- Antique Galilee,” Journal for the Study of Judaism 44 (2013), gram to other contemporary syna- sider the social, cultural, and eco- pp. 553–589. Mopsuestia ing of stone, woodworking, and an elaborate pulley 3 See Karen Britt and Ra’anan Boustan, The Elephant Mosaic gogues, as well as to the visual and nomic contexts of the local village system, appear around the tower. The workmen are Panel in the Synagogue at Huqoq: Official Publication and Ini- material culture of the wider east- before assessing the extent to which tial Interpretations, Supplementary Series 106 (Portsmouth, differentiated by hairstyles and facial hair, clothing, RI: Journal of Roman Archaeology, 2017). ern Mediterranean world. Indeed, the Huqoq mosaics reflect wider and even skin color in an attempt to portray differ- 4 The following institutions are consortium members of the * The discoveries at Huqoq have regularly been regional and transregional trends. In ent peoples. Amid the ongoing work, divine punish- Huqoq Excavation Project: the University of North Carolina reported in BAR since the launch of the proj- doing so, we have found that Huqoq at Chapel Hill; Austin College (TX); Baylor University; ect in 2011. See Jodi Magness, “Samson in the ment for constructing the tower is represented by Brigham Young University; and the University of Toronto. Synagogue,” BAR, January/February 2013; Jodi provides evidence of a number of the deaths of some of the workmen, who are shown We gratefully acknowledge the funding provided during the Magness, Scholar’s Update: “New Mosaics from MEDITERRANEAN Damascus intersecting trends in mosaic pro- falling headlong from the scaffolding and the ropes 2011–2017 excavation seasons by the consortium members; the Huqoq Synagogue,” BAR, September/October SEA duction that, in our view, should the Kenan Charitable Trust; the National Geographic Society 2013; Jodi Magness, Archaeological Views: “A of the pulley, as well as by a violent fight between Expeditions Council and Waitt Grants Program; the Loeb Lucky Discovery Complicates Life,” BAR, March/ Huqoq prompt a thorough reassessment of workmen. The chaos and violence throughout the Classical Library Foundation; the Carolina Center for Jewish April 2015; Strata: “More Mosaics at Huqoq,” ancient synagogue art.1 panel serve as graphic depictions of the punish- Studies; the International Catacomb Society; Dumbarton BAR, January/February 2017; Strata: “New The two Samson scenes in the Oaks; the Memorial Foundation for Jewish Culture; the Huqoq Mosaics,” BAR, November/December ment that God exacted from the builders for their Foundation for Biblical Archaeology; and numerous indi- 2017; Strata: “Israelite Spies in Huqoq Mosaic,” N east aisle of the synagogue—Sam- act of hubris. vidual donors. BAR, November/December 2018. son and the Gate of Gaza (Judges

38 May/June 2019 BIBLICAL ARCHAEOLOGY REVIEW 39 Artistic Influences Artistic Influences COURTESY UZI LEIBNER/PHOTO BY GABI LARON Khirbet Wadi Hamam

Huqoq JIM HABERMAN JIM

Huqoq COURTESY UZI LEIBNER/PHOTO BY GABI LARON

Khirbet Wadi Hamam

GIANT JUDGE. Samson appears in the synagogue mosa- UNDER CONSTRUCTION. Using a variety of tools and Huqoq ics at Huqoq and at Khirbet Wadi Hamam, both located devices, workmen build a large tower. This scene, which in Lower Eastern Galilee and dating to the Late Roman appears in mosaics at both the Wadi Hamam (see upper period. The scene from Huqoq (see left) is based on right) and Huqoq (see left images) synagogues, shows Judges 15:4–5, where Samson ties together 300 foxes the construction of the Tower of Babel (Genesis 11:1–9). in pairs tail-to-tail with torches and sets them loose Sharing an artistic tradition, these scenes depict workmen in the ’ fields. The scene from Wadi Hamam using—and even fighting over—the same kind of tools. (see above) depicts Judges 15:15–17, where Samson kills a thousand Philistines with a donkey’s jawbone. In both, Samson is portrayed as a giant in a Roman The Helios-zodiac cycle at the center of the soldier’s uniform. nave of the Huqoq synagogue offers an illuminating example. Although a zodiac cycle is included in the in any other ancient synagogue in Roman Palestine: mosaic floors of at least eight other ancient Palestin- the building of the Tower of Babel and Pharaoh’s ian synagogues,3 the design at Huqoq is rare. Zodiac JIM HABERMAN JIM soldiers being swallowed by the Red Sea. The Tower HABERMAN JIM cycles in other synagogues are usually arranged as 16:3) and Samson and the Foxes (Judges 15:4–5)—link of Babel panel at Wadi Hamam depicts individuals mosaics depicting some of the same Biblical stories two concentric circles, with the inner circle contain- Huqoq firmly to its immediate surroundings in Lower and small groups of workmen engaged in many of arranged in panels. This reflects local trends and ing Helios, and the outer circle containing the zodiac Eastern Galilee. The ancient synagogue at Khirbet the same construction tasks represented in the scene preferences among these Jewish congregations in signs in 12 wedge-shaped spaces. Such is the case, Wadi Hamam, which lies just 4 miles south of Huqoq, at Huqoq. Both mosaics include vignettes of two Lower Eastern Galilee. If more of the mosaics at for example, at Hammath , , and likewise included in one of its aisles a mosaic pave- workmen striking each other with the same tools. Wadi Hamam were preserved, the observed similari- Beth Alpha. At Huqoq, however, the Helios-zodiac ment depicting Samson—the episode from Judges Both synagogues also depict the parting of the ties between the mosaics in the two buildings would cycle consists of a central medallion surrounded by 15:15–17, where the Biblical hero strikes down the Red Sea with Pharaoh’s soldiers being swallowed likely be even stronger. While the nave mosaics in interlacing roundels. Philistines with a donkey’s jawbone.2 Similar to the by large fish amid overturned chariots and horses. the Wadi Hamam synagogue survive only in small The only other known example of this arrange- Huqoq mosaics, the Wadi Hamam Samson is dressed The focus on the drowning of the Egyptian army fragments, it is probable that, as at Huqoq, there was ment is at Yaphi‘a, near Nazareth. The similarities like a Roman soldier and depicted as a giant tower- in the panels at Huqoq and Wadi Hamam stands in a Helios-zodiac cycle in the center of the hall. How- between the Huqoq and Yaphi‘a zodiacs are strik- ing over his Philistine enemies, whom he has killed sharp contrast to most other Jewish and Christian ever, the appeal that certain themes held for some ing—from the interlacing circles to the dolphins in or wounded. depictions of this episode, which highlight the role Jewish communities in Lower Eastern Galilee does the triangular spaces between the circles. At Yaphi‘a, In addition to their common interest in the Sam- of and the experience of the Israelites. not explain all of the features of the Huqoq mosaics. only two roundels are preserved: one containing son cycle, the Huqoq and Wadi Hamam synagogues The synagogues at Huqoq and Wadi Hamam have Therefore, we must widen our geographic circle to a bull and the other a horned animal of which share two more scenes that have not yet been found the same architectural layout and are paved with understand their context within the larger region. only the head and partial Hebrew inscription are

40 May/June 2019 BIBLICAL ARCHAEOLOGY REVIEW 41 Artistic Influences Artistic Influences

Sepphoris Huqoq COURTESY OF PROF. ZEEV WEISS, THE SEPPHORIS EXCAVATIONS/ SEPPHORIS THE WEISS, ZEEV PROF. OF COURTESY LARON GABI JERUSALEM/PHOTO: OF UNIVERSITY HEBREW THE JIM HABERMAN JIM HABERMAN

Huqoq COURTESY UZI LEIBNER/PHOTO BY GABI LARON ZEV RADOVAN/BIBLELANDPICTURES.COM

Hammath Tiberias

Khirbet Wadi Hamam

RED SEA RISING. The waters of the Red Sea crash over Pharaoh’s army—drowning his soldiers, overturning their chari- Beth Alpha ots, and bringing large predatory fish. This chaotic scene (from Exodus 14:1–15:21) appears in mosaics at Huqoq’s syna- gogue (see top) and Wadi Hamam’s synagogue (see bottom). NY RESOURCE, ART ZODIAC THRILLERS. Zodiac calendars appear on several ancient synagogue floors. The zodiac mosaics from Beth Alpha preserved. Scholars were divided over whether these end of Huqoq’s nave contains parts of a human (lower left), Sepphoris (upper left), and Hammath Tiberias (lower right) all feature two concentric circles with the Greco- animals represented signs of the zodiac or the 12 figure and a horse (or a centaur, a human figure Roman sun god Helios driving his chariot across the sky in the central medallion. In the mosaic from Sepphoris, Helios tribes of . Gideon Foerster, an archaeologist with a horse’s body). The figure supports a vessel is personified as a sun disk. The outer circle of these three mosaics is divided into 12 sections, one for each month at the Hebrew University of Jerusalem, suggested on its head with its left hand. One small fragment and the corresponding zodiac sign. The design of the zodiac mosaic at Huqoq (see upper right) is distinct. Although it also depicts Helios in its central panel, the months are arranged in roundels. Further, 12 trapezoidal panels with inscrip- in 1987 that the signs of the Yaphi‘a zodiac appear of mosaic seems to show the partial wing of a bird tions about the 12 tribes of Israel (Genesis 49) once encircled the central panel—separating the central medallion from in the roundels alongside inscriptions referring to that once stood on the vessel. If this is the case, the the months. the 12 tribes.4 The zodiac cycle uncovered recently Huqoq mosaic resembles a panel in the nave of the at Huqoq supports this suggestion, as the Helios Yaphi‘a synagogue, which displays an eagle with out- medallion was once encircled by 12 trapezoidal pan- spread wings standing on a volute-shaped pedestal preservation. The affinities between the mosaics at connections underscore how little we know about els, two of which contain partially preserved Hebrew with the head of Medusa at its center. Huqoq and villages of Wadi Hamam and Yaphi‘a mosaic production in ancient synagogues, particularly inscriptions that appear to cite verses from Genesis Just as the Huqoq mosaics aid in understand- caution against focusing too exclusively on well- in rural areas. 49 referring to the 12 tribes. ing the mosaics in the synagogue at Wadi Hamam, known urban sites, such as Sepphoris and Hammath Local and regional contexts do not fully account The links between Huqoq and Yaphi‘a go even they also shed light on Yaphi‘a, whose significance Tiberias, as our primary sources of knowledge for the for the choice of scenes in the Huqoq mosaics, deeper. A fragmentary mosaic panel at the northern has been underappreciated due to its poor state of production of mosaics in the region. Indeed, these which also display striking similarities with mosaics

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Mopsuestia Aquileia Huqoq JIM HABERMAN

Mopsuestia IN KILIKIEN, VOL. 1: FRÜHCHRISTLICHE MOSAIKEN IN FROM LUDWIG BUDDE, MISIS-MOPSUHESTIA KLAUS-PETER SIMON/CC BY 3.0 (BONGERS, 1969) ANTIKE MOSAIKEN YUKIO SANJO/CC BY-SA-3.0 SANJO/CC YUKIO

ANIMAL HOUSE. Coming in pairs, animals stream to of the story of Jonah, citing as a possible parallel FISH TALES. Running away from God lands Jonah in hot Huqoq Noah’s ark. This episode from Genesis 7:9 appears on the Jonah cycle in the early fourth-century mosaic water. To calm a large storm, Jonah’s fellow sailors throw mosaic floors from Huqoq’s synagogue in Israel and from floor in the basilica at Aquileia in Italy. The popu- him overboard—per his instructions. A fish then swallows a public building, which may be a synagogue, at Mop- larity of the Jonah story in early Christian art has him, and he remains in its belly for three days. The above suestia in Turkey. In both of these mosaics, Noah’s ark is been used to support the identification of the build- mosaics depict this scene from Jonah 1. In the mosaic depicted as a wooden box on legs. from Huqoq’s synagogue in Israel (see upper right), ing at Mopsuestia as a church. However, the dis- a series of three fish swallows Jonah, whereas in the covery of the Jonah scene at Huqoq—which is the mosaic from Aquileia’s church in Italy (see upper left), a scene (in the nave). Interestingly enough, this cor- first definite depiction of this story in ancient Jew- sea serpent swallows him. Only a solitary fish (see lower responds to the placement of these panels in the ish art—strengthens the intriguing connections with right) survives of this scene from a building at Mopsuestia Huqoq synagogue. Mopsuestia and supports the possibility that it was in Turkey. Scholars debate whether this building was a The arrangement of the Noah panels at Mopsues- a synagogue, not a church. synagogue or church. tia and Huqoq is also similar: The ark is depicted as The Huqoq mosaics indicate that local Jewish a wooden chest supported by four legs, is placed at communities had a great deal of freedom in choos- at the messy intersection of Classical, Jewish, and the center of the scene, and is surrounded by ani- ing and arranging the decoration of their synagogue Christian cultures. mals. Noah’s ark was a popular theme in early Chris- buildings, apparently reflecting their particular inter- In addition to the most immediate connections tian art. It was depicted on sarcophagi, in catacomb ests. At the same time, the Huqoq mosaics make to villages around Lower Eastern Galilee, the com- JIM HABERMAN JIM paintings, and in manuscript illuminations—but not conspicuous use of subject matter drawn from Clas- munity at Huqoq appears to have had ties to the in other parts of the Mediterranean world. Transre- in church floor mosaics. sical art, as well as figures from Greek and Roman robust regional networks of mosaic production in the gional connections may explain the uncanny par- In addition to the Noah panel in the nave, an mythology and history, suggesting that the villagers Eastern Mediterranean. Finally, the remarkable simi- allels between the mosaic floors at Huqoq and in aisle in the Mopsuestia building has an extensive had a somewhat cosmopolitan outlook. larities with the fifth-century mosaics of the building a public building in Mopsuestia (modern Misis) in Samson cycle that included as many as 11 scenes None of the Huqoq mosaics has elicited more at Mopsuestia point to contacts with other parts of Cilicia, northwest of Antioch in Asia Minor (modern accompanied by inscriptions from the Book of interest than the enigmatic Elephant Panel, which the Mediterranean world. The Huqoq mosaics thus Turkey). Since its discovery, in 1955, scholars have Judges (especially 14:6–16:30). Although the mosaic may depict a historical event from the Hellenistic offer us precious evidence concerning the degree to been divided over whether the Mopsuestia building panels are not well preserved, it is clear that Sam- period.5 If so, it would indicate that interest in the which even modest rural villages in Galilee participated is a synagogue or a church. Its mosaic floors include son appears as a giant. The excavator of the build- past among the Jewish communities in Galilee could in the broader cultural and artistic trends of the late a panel depicting Noah’s ark (located in the nave), ing at Mopsuestia suggested that a fish found in a transcend the boundaries of sacred scripture and Roman world. a a Samson cycle (in the aisle), and possibly a Jonah fragmentary panel in the nave belongs to a depiction encompass historiographic traditions that circulated NOTES ON PAGE 68

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1 Our work on the Huqoq mosaics is indebted to the authoritative study of mosaics in the region by Rina Talgam, Mosaics of Faith: Floors of Pagans, Jews, Samaritans, Christians, and Muslims in the Holy Land (University Park, PA: Pennsylvania State Univ. Press and the Yad Ben-Zvi Institute, 2014). 2 See Uzi Leibner and Shulamit Miller, “Appendix: A Figural Mosaic in the Synagogue at Khirbet Wadi Hamam,” Journal of Roman Archaeology 23 (2010), pp. 238–264; Shulamit Miller and Uzi Leibner, “The Synagogue Mosaics,” in Uzi Leibner, ed., Khirbet Wadi Hamam: A Roman-Period Village and Syna- gogue in the Lower Galilee, Qedem Reports AUTHORS 13 (Jerusalem: The Institute of Archaeology, the Hebrew University of Jerusalem with the “Inside the Huqoq Synagogue” (p. 24): Jodi Israel Exploration Society, 2018), pp. 144–186. 3 Na‘aran, Beth Alpha, Huseifa, Hammath Magness is the Kenan Distinguished Professor for Tiberias, Susiya, Sepphoris, Yaphi‘a, and Wadi Teaching Excellence in Early Judaism at the Hamam. In addition, the ‘ synagogue University of North Carolina at Chapel Hill. She inscription (in the narthex) contains a list of the signs of the zodiac and the seasons. directs the Huqoq Excavation Project. Shua 4 Gideon Foerster, “The Zodiac in Ancient Kisilevitz of the Israel Antiquities Authority serves Synagogues and Its Place in Jewish Thought as the Assistant Director of the Huqoq Excavation and Literature,” Eretz-Israel 19 (1987), pp. 225–234 (Hebrew). Magness Kisilevitz Project. Matthew Grey is Associate Professor of 5 Karen Britt and Ra‘anan Boustan, The Ele- Ancient Scripture at Brigham Young University and phant Mosaic Panel in the Synagogue at Huqoq: an area supervisor on the Huqoq excavations. His Official Publication and Initial Interpretations, JRA Supplementary Series 106 (Portsmouth, research interests include synagogues, Galilean vil- RI: Journal of Roman Archaeology, 2017). lages, and Jewish society during the Roman period. Dennis Mizzi is a Senior Lecturer in Hebrew and Ancient Judaism in the Department of Oriental Studies and an associate member of the Department Biblical Views of Classics and Archaeology at the University of continued from page 58 Malta, as well as area supervisor at Huqoq. (For Grey Mizzi Notice too how we meet this slave-girl. Karen Britt and Ra‘anan Boustan, see below.) She follows Paul and his companions “Artistic Influences in Synagogue Mosaics: to the “place of prayer” over the course Putting the Huqoq Synagogue in Context” of “many days,” declaring, “These men (p. 39): Karen Britt serves as the mosaic specialist are slaves of the Most High God, who at the Huqoq Excavation Project. She is a Senior proclaim to you the way of salvation” Scholar in Visual Culture at Western Carolina (16:16–18). It appears everyone, including University. Ra‘anan Boustan is a Research Paul, ignored her multiple times, though Scholar in Judaic Studies at Princeton University she made it difficult to do so. But it is Britt Boustan and the Huqoq Excavation Project’s site historian. when Paul does respond and why he responds that is all the more troubling. “From Pets to Physicians: Dogs in the Biblical World” In the narrative, there’s no hint that the (p. 46): defends his Ph.D. thesis in Justin David Strong python-girl was speaking untruthfully the Christianity and Judaism in Antiquity program at the and needed to be silenced. Rather, Paul University of Notre Dame in June (2019). simply got annoyed and cast the spirit His dissertation examines Biblical parables out of her (16:18). Nothing is said about against the background of the ancient fable. leading her to the Christian faith or res- “Who Were the Assyrians?” (p. 51): cuing her from slavery, only that Paul had Strong Christopher B. Hays is the D. Wilson Moore had enough and finally dealt with her. Chair of Ancient Near Eastern Studies at How many are like Paul in this story, Fuller Theological Seminary in Pasadena, California. He is the able to see a Lydia who represents one author of The Origins of Isaiah 24–27: Josiah’s Festival Scroll aspect of society that can do much for for the Fall of Assyria (Cambridge Univ. Press, 2019). Hays him, but blind to the less fortunate? We

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