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The Ancient Near East Today

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The Ancient Near East Today 2018 Editor’s Selection Vol. 1: Five Articles from The Ancient Near East Today A PUBLICATION OF FRIENDS OF ASOR TABLE OF CONTENTS 1 “About that Museum in Washington” by Alex Joffe 2 “Were There Phoenicians?” by Josephine Quinn “Three Israelite Psalms in an Ancient Egyptian Papyrus” by Karel van der 3 Toorn “Life of a Salesman: Trade and Contraband in Ancient Assyria” by Mathilde 4 Touillon-Ricci “Comics, Narrative and the Archaeology of the Ancient Near East” by John 5 Swogger Chapter One About that Museum in Washington About that Museum in Washington By: Alex Joffe On a quiet street corner two blocks south of the National Mall and just above the busy highway that is Virginia Avenue is the latest addition to Washington’s cultural life, the Museum of the Bible. But unlike the Smithsonian Institution, sprawled out across the Mall, this new museum is a private venture, a labor of love by the Green family of Oklahoma City, they of Hobby Lobby fame. From the outside, the building looks like a forgotten branch of the Bureau of Printing and Engraving. Inside is a state of the art museum, spread over seven floors and hundreds of thousands of square feet. But the Museum of the Bible is more than that; it is a unique performance space that operates on multiple layers to present an American Protestant perspective on the Bible, God, and History. Some readers are doubtless ready to stop right here. That would be a mistake, not only because they’d miss some witty insights, but because the museum itself is a serious place that deserves consideration and respect, if only because of the questions it poses for us about the Bible. Who has the right to interpret the Bible? The Museum of the Bible. Photo by the author. museum makes it clear that, following the Protestant tradition, all people do. But using what tools? That’s where things get complicated. Entering the museum through its main door, flanked by tablet-like engravings, visitors are thrust into a marble clad interior space that feels like the corporate headquarters of a global pharmaceutical firm. Giant touch screens and video displays hint at what is to come, as do the moveable pillars of the Philistine temple in the children’s room, ‘Courageous Pages,’ which junior Samsons can push apart. Another important hint is the Vatican Museum room filled with manuscripts on loan; the museum has been relentless and successful in developing partnerships with other institutions around the world. On the one hand the strategy vastly expands the scope of the displays. On the other, this is a way for an upstart museum to generate respectability and put itself on the map. Respectability is an important issue, both for the museum and for its patrons. Any new cultural institution in Washington needs to establish itself, and in a city dedicated to the Seven Deadly Sins and then Hobby Lobby. some, a Museum of the Bible is at a disadvantage. So too is the Green family, which founded its first arts and crafts store in 1972. The chain now employs 32,000 people in 800 stores, and is famous for stocking over 70,000 different crafting and home decor items. It is also famous for winning its case in the Supreme Court, in which it argued that as a closely held corporation with religious objections, it did not have to provide contraceptive coverage to employees as otherwise mandated by the Affordable Care Act. Reasonable people may disagree about this, but academics are not generally reticent. Nor have they been restrained regarding the Green family’s outsized interest in collecting antiquities. One of these purchases was a collection of several thousand cuneiform tablets, looted in Iraq and exported to the US through the United Arab Emirates and Israel. Labeled “ceramic tiles,” the tablets were seized by the Federal government and recently returned to Iraq. The Green family agreed to pay a $3 million fine. Overall the family has donated almost 3,000 items to the museum. While they do not run the institution, they have shaped it, both conceptually and materially. Cuneiform tablet seized by the US Government. (https://www.smithsonianmag.com/smart-news/artifacts- seized-hobby-lobby-may-come-lost-sumerian-city-180968931/) But it seems nothing is born without sin. The National Gallery of Art, which reposes on the Mall, was founded by former Treasury Secretary Andrew Mellon, then on trial for tax evasion, through a trust he established which also happened to buy paintings that the Soviet Union had sold from the Hermitage Museum. That inconvenient narrative is today completely forgotten. We might reasonably insist on higher ethical standards in the 21st century but if we become too insistent all cultural life on this planet will grind to a halt. Of course, the idea of a Bible museum (partially) built on loot has a certain appeal, especially in Washington. But I digress. As an archaeologist, the first stop was a gallery is devoted to ‘The People of the Bible,’ interpreted as Canaanites and Israelites of the second and first millennium ‘BC’ (not BCE). Objects on loan from the Israel Antiquities Authority present aspects of life and society from the Middle Bronze Age through the Roman period, enlivened with computer animations, a wholly unobjectionable tour of some of the greatest hits of Israeli archaeology. Also unobjectionable are special exhibits on theatrical performances of the Bible in Renaissance Florence and on Jerusalem and Rome in the first century CE (not AD, go figure). Still, the world of the Bible proceeds in one direction: the heart of the museum are Bibles, and boy are there a lot of them. The Green family are indefatigable collectors of the word of the Bible in every conceivable form, from papyrus fragments to Gutenberg Bibles to every edition of every modern translation into every language. It is here that the narrative is most visible and that the museum is at its best. Photo by the author. Leave aside for the moment the question of whether the museum’s tiny Dead Sea Scroll fragments (purchased in the early 21st century) are real or not. To their credit the displays include disclaimers that raise the question. Also leave aside the provenance of certain Greek papyri, which may or may not be real, stolen, or unraveled after reuse as papier-mâché mummy masks. The structure of the exhibit leads a visitor from the Biblical world of Israelites and Judeans to a world where the Word stands alone. Throughout the exhibit, and indeed the exhibitions as a whole, the figure of Jesus is rarely the focus. Instead, the word is the center, the Bible, as an artifact and concept; it is the only reality in exhibits that mix ancient objects and simulacra. The path is telling. A real Gilgamesh tablet and a replica of the Hammurabi stele illustrate the Near Eastern foundations of the Bible and of writing. The Exodus is not mentioned but David is king. There are replicas of the Tel Dan inscription and the Black Obelisk of Shalmaneser but the Bible as canon begins with the Dead Sea Scrolls, and with real and facsimile Greco-Roman papyri. The real story, however, begins with Christian codices. There are lots, telling the story of the Bible’s translation into many different languages and its dissemination around the world. Occasionally the translators even speak. Approach the niche holding a Latin translation and a video image of an actor playing St. Jerome appears to humbly explains his background and problems in creating the Vulgate. Maimonides does the same regarding his authoritative Biblical exegesis. These special effects enliven a long wandering through 1500 years of the Bible, through acres of illuminated manuscripts and sectarian editions, in which certain issues are tactfully elided, namely the splits within the church. The stewardship of the Catholic Church and the Papacy is graciously acknowledged, but the enthusiasm displayed over Gutenberg, Luther and Erasmus makes the Protestant narrative clear. A full size replica of Gutenberg’s press shows the power of printing, while Luther and Erasmus ‘themselves’ helpfully inform visitors about their efforts translating the Bible into vernacular and scholarly editions, respectively. The Bible Recreated Gutenberg press. (https://upload.wikimedia.org/ belongs to the world. wikipedia/commons/c/c3/PrintMus_038.jpg) But just as the Bible itself is not static, the museum is not simply the exhibitions of objects, which mostly play it straight regarding narrative; mentions of God are few (and readers will ponder whether these are references to the deity moving in History or to literary perceptions thereof). The ‘Drive Through Theater’ hosted by Dave Stotts, (a sort of Christian broadcasting version of Josh Gates) is a light hearted, quick cut Discovery Channel (and History Channel, and Travel Channel, all those channels) style trip through archaeological sites in Israel by jeep (and eventually Germany and Britain). Dave Stotts. (https://www.tbninafrica.org/schedule/programme/drive-thru- history-with-dave-stotts) The invented drama of Biblical archaeology in brought to life with a snappy soundtrack, much as it is for the pursuit of ancient astronauts and Bigfoot. But so what? I’ve argued countless times that without this sort of mostly harmless PR, Biblical archaeology would be in the same dire straits as its global counterparts; neglected until highways and skyscrapers are built, and forgotten between discoveries of ice men (or women) and pyramids. The real drama happens in the multimedia displays, sound and light shows that Disney would envy. Moving from room to room through a literal narrative from Creation through the Exodus, although without a stop at Sinai to receive the Law, visitors are bombarded by light and darkness, waves of sound, abstract figures and scenes projected on walls, and occasionally even mist.
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