24.3.12

Ecclesia & Synagoga

Documents consulted online - document is under construction



Nina Rowe, The Jew, the Cathedral and the Medieval City - Synagoga and Ecclesia in the Thirteenth Century, Cambridge, 2010. In the thirteenth century, sculptures of Synagoga and Ecclesia – paired female personifications of the Synagogue defeated and the Church triumphant – became a favored motif on cathedral façades in France and Germany. Throughout the centuries leading up to this era, the Jews of northern Europe prospered financially and intellectually, a trend that ran counter to the long-standing Christian conception of Jews as relics of the pre-history of the Church. In The Jew, the Cathedral and the Medieval City, Nina Rowe examines the sculptures as defining elements in the urban Jewish-Christian encounter. She locates the roots of the Synagoga-Ecclesia motif in antiquity and explores the theme’s public manifestations at the cathedrals of Reims, Bamberg, and Strasbourg, considering each example in relation to local politics and culture. Ultimately, she demonstrates that royal and ecclesiastical policies to restrain the religious, social, and economic lives of Jews in the early thirteenth century found a material analog in lovely renderings of a downtrodden Synagoga, placed in the public arena of the city square. • Offers studies of the major Gothic cathedrals of Reims, Bamberg, and Strasbourg in English (most all of the literature on these cathedrals is in French or German, therefore inaccessible to most undergraduate audiences in the US and the general public) • Offers a novel exploration of the Synagoga-Ecclesia motif in relation to imperial Roman artistic conventions • Considers the popularity of the Synagoga-Ecclesia theme as a response to the Jewish-Christian interactions at the time, whereas previous studies have only addressed Christian conceptions of Jews or Judaism with no discussion of the ways the Jewish intellectual, economic, and social life might have impelled the Christian embrace of the theme.

5.3.12

Stigma

Latin term of Greek origin (stígma, meaning mark or tattoo). 1590s, "mark made on skin by burning with a hot iron," from L. stigma, from Gk. stigma (gen. stigmatos) "mark, puncture," especially one made by a pointed instrument, from root of stizein "to mark, tattoo." Figurative meaning: 1610s, "a mark of disgrace."
As a symbolic mark, stigma refers to a distinguishing mark of infamy or disgrace; a stain or reproach (as on one's reputation); Mark of Cainbadge of shame.

Gustave Doré, Ahasverus, coloured print, 1852
According to European legend, a marked assassin and wandering apatride.
Eduard Fuchs, Die Juden in der Karikatur: ein Beitrag zur Kulturgeschichte, Munich: Albert Langen, 1921: "Der wandernde Ewige Jude." A controversial book documenting stereotypical representations of Jews; in this case, the "everlasting" myth of the Wandering Jew.

Stigma (plural, stigmata) is a Greek word that in its origins referred to a kind of tattoo mark that was cut or burned into the skin of criminals, slaves, or traitors in order to visibly identify them as blemished or morally polluted persons. These individuals were to be avoided or shunned, particularly in public places. The word was later applied to other personal attributes that are considered shameful or discrediting.

"Real men don't cry publicly. We just get something in our eye."
The socialization factor. Men are socialized to not show as much emotions as women. This is because of socialization: boys are told not to cry for the reason that boys are "stronger." Men thus suppress most emotions, but they do show anger and aggressiveness physically.

Supposed origin. An explanation for the origin of stigmata attempts to link it to group survival in early times. According to this theory, people who were perceived as unable to contribute to the group's survival, or who were seen as threats to its well-being, were stigmatized or demonized so to justify their isolation, exclusion, etc.

Javier Inga, Envy, 2008

Real problem. Persons who are unable to conform to standards that society calls "normal" are disqualified from full social acceptance, to become stigmatized. Physically deformed people, ex-mental patients, drug addicts, prostitutes, or those ostracized for other reasons must constantly strive to adjust to their precarious social identities.


Via rationalization, all kinds of excuses (sometimes of ridiculous content and proportions) are fabricated to justify stigmatization and a series of reactions such as segregation, discrimination, persecution, even murder.

We and The Other

Social stigma is the severe social disapproval of, or discontent with, a person or group of individuals on the grounds of characteristics that distinguish them from other members of a society. Stigma may attach to a person, who differs from social or cultural norms. Stigma can be defined as "the process by which the reaction of others spoils normal identity" (Erving Goffman, Stigma: Notes On the Management of Spoiled Identity, Prentice Hall, 1963; Sarah Nettleton, The Sociology of Health and Illness, Cambridge, UK: Polity, 2006, p. 95).

Louis-Léopold Boilly, Ah!, 1824

Social stigma can result from the perception or attribution, rightly or wrongly, of mental illness, physical disabilities, diseases (such as leprosy), illegitimacy, sexual orientation, gender identity, skin tone, nationality, ethnicity, religion, lack of religion, or criminality. Attributes associated with social stigma often vary depending on the geopolitical and corresponding sociopolitical contexts in different parts of the world (WK).

A contemporary sculpture by Jake and Dinos Chapman
Zygotic acceleration, biogenetic, de-sublimated libidinal model, 1995

Goffman detects three forms of social stigma:

1. Physical deformities. These include a physical form of deformity or differentness; overt or external deformations such as scars, leprosy, extremes of height and weight, anorexia nervosa, obesity, and such conditions as albinism, facial disfigurements, missing limbs, and physical disability. In some countries, this category can also include such signs of aging as gray hair, wrinkles, and stooped posture.

2. Weaknesses or defects of individual character. This category includes biographical data that are held to indicate personal moral defect, such as a dominating or unnatural passion, weakness of willpower, rigid opinions, lack of honor, mental confusion, imprisonment, criminal record, divorce, mental illness (or the imposition of such a diagnosis), drug addiction, alcoholism, unemployment, suicide attempts, etc.

3. Tribal outgroup status Phylogenetically or culturally assigned stigma refers to a person's membership in a race, ethnic group, religion, or gender that is thought to disqualify all members of the group. Tribal stigmas are traits, imagined or real, of ethnic group, nationality, or of religion that is deemed to be a deviation from the prevailing normative ethnicity, nationality or religion.


Scapegoat. A scapegoat is somebody who is blamed, although he/she is usually innocent. Often, individuals blame other people if things go wrong. A scapegoat may be a child, employee, peer, ethnic or religious group, or country. A whipping boy or fall guy is a form of scapegoat.
Azazel and the Scapegoat
Collin de Plancy
Dictionnaire Infernal, Paris, 1825
Scapegoat (i.e. "escape-goat") derives from the common English translation of the Hebrew term azazel (Hebrew: עזאזל) which occurs in Leviticus 16:8, after the prefix la- (Hebrew לַ "for"). In the Bible, the scapegoat was a goat that was designated (la-azazel) that was outcast in the desert as part of the ceremonies of the Day of Atonement, that began during the Exodus with the original Tabernacle and continued through the times of the Temple(s) in Jerusalem.
In ancient Greece a cripple or beggar or criminal (i.e., the pharmakos) was cast out of the community, either in response to a natural disaster (such as a plague, famine or an invasion) or in response to a calendrical crisis (such as the end of the year).
In psychology and sociology, the practice of selecting someone as a scapegoat has led to the concept of scapegoating.

William Holman Hunt, The Scapegoat, 1854-56

Scapegoating (from the verb "to scapegoat") is a recent coinage for the practice of singling out any party for unmerited negative treatment or blame as a scapegoat. Scapegoating may be conducted by individuals against individuals (e.g., "Jimmy did it, not me!"), individuals against groups (e.g., "I failed because our school favors boys"), groups against individuals (e.g., "Jane was the reason our team didn't win"), and groups against groups (e.g., "Immigrants are taking all of the jobs").
1. At the individual level. According to a 1998 medial definition, scapegoating is a "process in which the mechanisms of projection or displacement are utilised in focusing feelings of aggression, hostility, frustration, etc., upon another individual or group; the amount of blame being unwarranted" (MF).
Scapegoating is a tactic often employed to characterize an entire group of individuals according to the unethical or immoral conduct of a small number of individuals belonging to that group, also known as guilt by association and stereotyping.
Scapegoated groups throughout history have included almost every imaginable group of people: genders, religions, people of different races or nations, people with different political beliefs, or people differing in behaviour from the majority. However, scapegoating may also be applied to organizations, such as governments, corporations, or various political groups.
Projection. Unwanted thoughts and feelings can be unconsciously projected onto another who becomes a scapegoat for one's own problems. This concept can be extended to projection by groups. In this case the chosen individual, or group, becomes the scapegoat for the group's problems. "Political agitation in all countries is full of such projections, just as much as the backyard gossip of little groups and individuals" (M.-L. von Franz, in C.G. Jung, Man and his Symbols, London, 1964, p. 181).
2. At the group level. The scapegoat theory of intergroup conflict provides an explanation for the correlation between times of relative economic despair and increases in prejudice and violence toward outgroups. For example, studies of anti-Black violence in the southern US between 1882 and 1930 show a correlation between poor economic conditions and outbreaks of violence against Blacks. The correlation between the price of cotton and the number of lynchings of Black men by Whites, suggests that a poor economy induced White people to take out their frustrations by attacking an outgroup (Hovland & Sears). Scapegoating as a group, however, requires that ingroup members settle on a specific target to blame for their problems (Peter Glick, Choice of Scapegoats, 2005). Scapegoating is also more likely to appear when a group has experienced difficult, prolonged negative experiences (as opposed to minor annoyances). When negative conditions frustrate a group's attempts at successful acquisition of its most essential needs (e.g., food, shelter), groups may develop a compelling, shared ideology that (when combined with social and political pressures) may lead to the most extreme form of scapegoating: genocide.
Eventually, scapegoating may cause oppressed groups to lash out at other oppressed groups. Even when injustices are committed against a minority group by the majority group, minorities may lash out against a different minority group in lieu of confronting the more powerful majority.

Scapegoating

Resources
Erving Goffman, Stigma: Notes On the Management of Spoiled Identity, Touchstone, 1986
Stigma, Encyclopedia of Mental Disorders, 6.3.2012
Stigma Research and Action, University Amsterdam
Wikipedia: Azazel
Wandering Jew, Jewish Encyclopedia, 1906
Wandering Jew, New World Encyclopedia, 2007
Joanna Brichetto, The Wandering Image: Converting the Wandering Jew, thesis, Vanderbilt University, Nashville, 2006
Jeremy Gillick, No Rest for the Wandering Jew, Moment, 2010
The Scapegoat and Try Someone Else, Lightshouse, 2009
Scapegoating, Out of the Fog, 2007-12
J. Kniesmeyer & D. Brecher, Popular Anti-Semitism, Beyond the Pale, 1995

"You're different because one or more of your physical attributes doesn’t work properly, and that difference makes me uncomfortable but intrigues me at the same time" (The Cinema of Isolation: A History of Physical Disability in the Movies, Rutgers, 1994).

See also
Bullying
Displacement (Psychology)
Dehumanization
Frustration-Aggression Hypothesis
Identified patient
Mobbing
Moral panic
Sacrificial lamb
Shooting the messenger
Social stigma
Stereotype
Victim blaming
Victimization
Wedge issue
Witch-hunt

http://en.wikipedia.org/wiki/Social_stigma
http://es.wikipedia.org/wiki/Estigma_social
http://pt.wikipedia.org/wiki/Estigma_social
http://en.wikipedia.org/wiki/Norm_(sociology)
http://es.wikipedia.org/wiki/Norma_social
http://www.ygoy.com/2011/02/18/vitiligo-%E2%80%93-a-%E2%80%9Ccurse%E2%80%9D-that-comes-with-social-stigma-attached/
http://www.christies.com/LotFinder/lot_details.aspx?intObjectID=5221392
http://www.dailymail.co.uk/tvshowbiz/article-2015003/Kate-Moss-shows-honeymoon-tan-low-cut-dress.html

17.2.12

O Afflicted One...



Mariano Akerman, Jerusalem, 1992

O afflicted one, storm-tossed, and not comforted,
Behold, I will set your stones in antimony,
And your foundations I will lay in sapphires.

Isaiah 54:11

David Roberts, Jerusalem, 1839
Rembrandt, The Sacrifice of Isaac, 1655
The Western Wall and tho Mosque of Omar, photograph, 1978
Boris Shatz, The Ark of Covenant, 1924
Shmuel Katz, Jerusalem and its Walls, 1975
King David, Gaza Synagogue mosaic, 550 CE
Seal of Ma'adana, 7th century BCE
Luca Giordano, Solomon's Dream, 1693-4
Fergusson, Solomon's Temple, conjectural reconstruction
Temple Implements, Perpignan Bible, 1299
Nicolas Poussin, Judgement of Solomon, 1648
Raphael, The Expulsion of Heliodorus from the Temple, Vatican fresco, 1511-12
Ark of the Law and Ritual Objects, Beth Alpha Synagogue mosaic, 550 CE
Silver Hanukkah lamp, Central Europe, 1830
Avi Yonah, Model of Herod's Temple, c. 1970s
After Michelangelo, The Purification of the Temple, 16th century
Simone Martini, The Bearing of the Cross, 14th century
El Greco, The Crucifixion, 16th century
Raphael, The Resurrection, 1501-2
Jerusalem, Santa Maria Maggiore mosaic, Rome, 450
Andrea del Sarto, Sacrifice of Isaac, 1528
The Dome of the Rock, Jerusalem, photographs
Anonymous, Sacrifice of Isaac, Egyptian mural
The Ark of the Law, Roman glass, 4th century
Ecclesia et Synagoga, Liebfrauenkirche sculptures, Trier, 1250
Jean-Leon Gerome, The Wailing Wall, 1870
Anna Ticho, Judaean Desert, 1970
Rafi Peled, Lions' Parade, Jerusalem, 2002
R.B. Kitaj, Arabs & Jews (Jerusalem), 1985
Dead Sea Manuscripts: The Great Isaiah Scroll, Qumran, 125 BCE
Marc Chagall, Peace, mosaic detail
Mariano Akerman, Jerusalem, 1992

The Foundation Stone, also known as "Navel of the World"
Hebrew, English, German, Russian, Farsi, Turkish, Indonesian

Reference

Solomon 1 2
The Dream of Solomon at Gibeon, by Luca Giordano, 1693. The painting is a depiction of the passage from the Bible, I Kings 3:5-15, in which God appeared to the young king. In the dream God asks Solomon what gift he wanted and Solomon responded that he wanted understanding so that he could properly judge the people. The Neapolitan Giordano produced this painting in Spain when he was about fifty-nine years old. He had just entered the service of the Spanish king. He became wealthy in that service and returned to Naples in 1702 where he died three years later. The painting is 361 cm wide and 245 cm high and is in the Museo del Prado in Madrid.
Raphael, The Judgement of Solomon, 1510-11. Fresco, 120 x 105 cm. Stanza della Segnatura, Palazzi Pontifici, Vatican

9.2.12

Structures of Consciousness



Richard Nickel, Ornament, 2008

THE ELEMENTS OF ARCHITECTURE
Oscar Maisonave's Differentiation

1. Structural


Le Corbusier, Ville Savoie, Poissy, France, 1928-31

2. Decorative


Colisseum, Flavian Amphitheater, Rome, 78-80 EC

3. Ornamental


Johann Esaias Nilson, Neues Caffehaus, Augsburg, 1756


THE ELEMENTS OF COMPOSITION
According to Alfonso Corona-Martinez & Liber Vigo

1. Tradition: Beaux-Arts Approach


Latrobe, Bulfinch y Walter, Capitolium, Washington, D.C., 1800-60

2. Innovation: Modern Approach


Ludwig Mies van der Rohe, Farnsworth House, Plano, Illinois, 1950

SEMIOTICS
by Mariano Akerman


Charles Moore, Piazza d'Italia, New Orleans, 1975-79


And silence is made, European beer advertisment, c.2006


Jeffrey Gusky, Of Life and Loss, photograph, Dzialoszyce, Poland, 1996


Marko Mäetamm, Bleeding House #2, oil on canvas, 2004

Resources
Tradition and Innovation
Visual Communication

8.2.12

Sephirot


In Kabbalah, the Sephirot are the ten attributes or emanations through which God created the world and/or manifests.

The Tree of Life, or Etz haChayim (עץ החיים) in Hebrew, is a mystical symbol used in the Kabbalah of esoteric Judaism to describe the path to God and the manner in which he created the world ex nihilo, out of nothing. The Kabbalists developed this concept into a full model of reality, using the tree to depict a map of Creation. The Tree of Life presents ten sephirot. It may correspond to the Tree of Life mentioned in Genesis 2:9.


Portae Lucis: The Wise Man holding the Tree of Life, engraving, Augsburg 1516

Joseph ben Abraham Gikatilla (1248–1305) (Hebrew: יוסף בן אברהם ג'יקטיליה‎, Spanish: Chiquitilla, "The Little One") was a Spanish kabbalist, student of Abraham Abulafia. Born at Medinaceli, Old Castile, Gikatilla was for some time a pupil of the kabbalist Abraham Abulafia, by whom he is highly praised; his kabbalistic knowledge became so profound that he was supposed to be able to work miracles, and on this account was called "Joseph Ba'al ha-Nissim" (the Thaumaturge or literally Master of Miracles; Zacuto, Yuḥasin, p. 224a). Like his master, Gikatilla occupied himself with mystic combinations and transpositions of letters and numbers; indeed, Abulafia considered him as the continuator of his school (Adolf Jellinek, B.H. iii, p. xl). But Gikatilla was not an adversary of philosophy; on the contrary, he tried to reconcile philosophy with kabbalah, declaring that the latter is the foundation of the former. He, however, strove after the higher science, that is, mysticism. His works in general represent a progressive development of philosophical insight into mysticism. His first work shows that he had considerable knowledge of secular sciences, and that he was familiar with the works of Ibn Gabirol, Ibn Ezra, Maimonides, and others. He died at Peñafiel after 1305.

See also:
Kabbalah
Tree of Life
Klippot

30.1.12

Ivory Pomegranate


The Ivory Pomegranate is a thumb-sized decorative object acquired by the Israel Museum. A Hebrew inscription is engraved around the shoulder of the thumb-size pomegranate that reads, "Holy to the priests, (belonging) to the Temple of [Yahwe]h."

Some researchers believe it adorned the High Priest sceptre within the Holy of Holies. They also consider it a genuine artifact proving the existence of Solomon's Temple.

The Ivory Pomegranate is a small ornamental bone object engraved with a short inscription in paleo-Hebrew. The inscription is inscribed in circular fashion along the shoulders of the pomegranate which is the shape of the fruit in blossom stage.

The ivory pomegranate is a priceless Semitic artifact from 13th century BCE and its inscription probably dates from the 8th century BCE.

The pomegranate was popular as a cultic object and was not unique to the worship of Yahweh.

The thumb-sized ivory pomegranate measuring 44 millimetres (1.7 in) in height, bears an ancient Hebrew inscription that reads, depending on the point chosen as the beginning in the circular inscription, "Belonging to the Temple [literally 'house'] of ---h, holy to the priests" or "Sacred donation for the priests of [or 'in'] the Temple [literally 'house'] of ---h".

Inscription on the ivory pomegranate

"[Belonging] to the Temple of [Yahwe]h, consecrated to the priests"

Inscribed Pomegranate from Solomon's Temple
Ivory, 8th century BCE
The Israel Museum, Jerusalem

The thumb-sized pomegranate is believed to be the only existent relic from Solomon's Temple in Jerusalem. Around the shoulder of the pomegranate there is a carefully incised inscription in early Hebrew characters, part of which is broken off, which reads: "qodes kohanim I-beyt [yahwe]h". "Sacred donation for the priests of (in) the House of [Yahwe]h." "House of Yahweh" most probably refers to the Temple in Jerusalem. The pomegranate was Solomon's favorite motif and decorated the capitals of the two freestanding columns at the entrance to the Temple in Jerusalem (1 Kings 7:21).

An Amazing Artifact. The tiny ivory pomegranate is an ancient relic and can be seen on display at the Israel Museum in Jerusalem. If you ever visit the museum, just ask for the pomegranate. Everyone knows exactly where it is kept, under high tech surveillance. Postcards and small jewelry items of the pomegranate are available in the museum store. A little booklet accompanies the jewelry with the following inscription: "This piece of jewelry is an actual-size replica of an ivory pomegranate, dating to the 8th century BCE, probably a remnant from Solomon’s Temple in Jerusalem, the only existing artifact from the First Temple known to us today. The ancient Hebrew inscription reads: Belonging to the Temple of (Yahveh) Holy to the Priests." (Discovery News, 2006).

References
André Lemaire, "Une inscription paleo-hebraique sur grenade en ivoire," Revue Biblique, Vol. 88, pp. 236-239.
_____. "Probable Head of Priestly Scepter from Solomon’s Temple Surfaces in Jerusalem," Biblical Archaeology Review, January-February 1984
Don D. Srail, Pomegranate or Almond Bud, 19.1.1997
Is This Inscription Fake?, Biblical Archaeology Review, September-October 2007
Yitzhak Roman, Text on a Pomegranate, Case no. 482/04, District Court, Jerusalem: Expert's Opinion, The Institute for Technology and Forensic Consulting Ltd., 10.12.2008
Leading Israeli Scientist Declares Pomegranate Inscription Authentic, Biblical Archaeology Review, 16 December 2008

29.1.12

Kuntillet Ajrud


Kuntillet Ajrud is a 9th-8th century BCE site in the northeast part of the Sinai peninsula.[1] It is frequently described as a shrine, but this is not certain.[2]

The site was investigated in 1975-76. The fortress-like main building is divided into two rooms, one large and the other small, both with low benches. Both rooms contained various paintings and inscriptions on the walls and on two large water-jars ("pithoi"), one found in each room. The paintings on the pithoi show various animals, stylised trees, and human figures, some of which may represent gods. They appear to have been done over a fairly considerable period and by several different artists, and do not form coherent scenes. The iconography is entirely Syrian/Phoenician and lacks any connection to the Egyptian models commonly found in Palestinian art.[3]

Ceramic fragment
Kuntillet Ajrud, Negev, 9th century BCE
Motifs painted on a jar known as "Pithos A"

The inscriptions are in a mix of Phoenician and Hebrew script. The unique Hebrew inscriptions can be divided unto several types: inscriptions incised on pottery vessels before, or after, firing; inscriptions incised on the rims of stone bowls; ink inscriptions on wall plaster and, together with drawings, on large pottery vessels. All of these are unique in Iron Age Israel both in quantity and variety.[4] Many are religious in nature, invoking Yahweh, El and Baal, and two include the phrases "Yahweh of Samaria and his Asherah" and "Yahweh of Teman and his Asherah."[5] There is general agreement that Yahweh is being invoked in connection with Samaria (capital of the kingdom of Israel) and Teman (in Edom); this suggests that Yahweh had a temple in Samaria, and raises a question over the relationship between Yahweh and Kaus, the national god of Edom.[6] The "Asherah" is most likely a cultic object, although the relationship of this object (a stylised tree perhaps) to Yahweh and to the goddess Asherah, consort of El, is unclear.[7]

J.A. Emerton, "New Light on Israelite Religion: The Implications of the Inscriptions from Kuntillet Ajrud," Zeitschrift für die Alttestamentliche Wissenschaft Berlin, 1982, vol. 94, no1, pp. 2-20: Kuntillet Ajrud, ca. 50 km au sud de Kadesh-barnea, carrefour de pistes caravanières du Sinaï septentrional. Importance théologique de deux inscriptions sur jarres qui y furent trouvées (cf Z. Meshel, 1979): YHWH smrn wlsrth et YHWH tmn wsrth. Meshel les date d'avant ou d'après 800 av. J.-C. et lit: "YHWH de Samarie et son Ashera" et "YHWH de Teman et son Ashera". L'A. discute la question de syntaxe: la règle "en hébreu biblique un nom propre ne peut être à l'état construit", pour laquelle l'expression YHWH Sevaot fait problème. Les inscriptions de Kuntillet Ajrud confortent la justesse de la traduction classique "YHWH des Armées". L'expression "YHWH de Samarie" vient d'un voyageur originaire de Samarie et évoque le culte de YHWH tel qu'il y était célébré. YHWH de Téman évoque la tradition de YHWH "venu des montagnes d'Edom". Quant à Ashera, dans ces inscriptions, elle est probablement le symbole en bois de la déesse de ce nom, dont l'association avec le culte de YHWH est attestée dans l'AT. Peut-être, dans la religion populaire, pouvait-elle être considérée comme la parêdre de YHWH.

La critique historique et les découvertes épigraphiques et archéologiques des dernières décennies convergent sur le fait qu’on ne peut, à l’époque de la royauté, parler de judaïsme pour décrire les systèmes religieux en Israël et en Juda. Les inscriptions de [...] Kuntillet Ajrud ont confirmé que Yahvé n’était pas un dieu célibataire, mais associé à la déesse Ashérah, [...] comme l’ont suggéré tout récemment Na’aman et Lissovsky de l’université de Tel Aviv.[8]

Some scholars, including William G. Dever, have asserted that the Asherah was worshipped as a consort of Yahweh, until the 6th century BCE, when strict monolatry of Yahweh became prevalent in the wake of the destruction of the temple.[9] However, the consort hypothesis has been subject to debate with numerous scholars publishing disagreement.[10]



Meaning in the Fragment
by Mariano Akerman

The material found at Kuntillet Ajrud should be taken cautiously and perhaps seriously, but only up to a certain point. Israelites kept the Law, but they occasionally had unexpected twists, including plenty of humor too. The area in which the fragments have been found is relatively far from Jerusalem. It is possible that the individual who depicted "YHWH with His Asherah" was in a sense kidding. That individual was of course not an Israelite priest, but possibly a soldier. That individual pressumably knew about Abraham's response to idolatric polytheism, yet was not entirely for it. Significantly, the graffiti of the Kuntillet Ajrud fragment is popular in character and bold in its insinuations. It presents three figures, yet their identity remains unclear. The sitting figure playing the harp looks feminine. The standing ones do not. Moreover, the standing figures appear to have identical male genitalia. Is YHWH blatantly in the nude? And is "Asherah" a woman or a man? According to the fragment inscription, the "Asherah" depicted is YHWH's one. Supposing that YHWH is the big man standing on the left of the fragment, then who is "His Asherah"? One possibility is to consider the figure playing the harp to be Asherah, while YHWH has apparently arrived "home" with His "Closest Friend". Then one gets some kind of triangular relationship, perhaps speaking for a ménage à trois. But, there is also another possibility that may suit better the tongue-in-cheek aims of the certainly not-entirely-Jewish individual who represented these three Kuntillet Ajrud figures: in the fragment, the figure depicted as the closest to YHWH has been provided with male genitalia and this suggests that "His Asherah" is a male. Thus, the Kuntillet Ajrud fragment can be a provocation testing the very foundations of what opportunely was to become the Abrahamic Nation, whose Singular Being it considers but also mocks in various levels. Concerning the Asherah in the Kuntillet fragment, a popular saying may come to one's mind, "If your grandpa were not a man, he would have been your grandma." Although given the specific genitals of the Kuntillet figure depicted by the side of YHWH, another saying, which is undoubtedly vulgar, may fit this case better: "If your grandma had balls, she'd be your grandpa."[11] Significantly, even if objecting any of these possibilities, one should keep in mind that the Kuntillet Ajrud framgment is probably an early, paleo-Hebrew expression of a strong desire that was going to reappear among some Israelites again and again. Such desire will eventually find expression in terms of paradoxical humor much later, as for example in the double-edged Yiddish holding that if eating pork, one should do it thoroughly.[12]

THE KUNTILLET AJRUD BRIEF-CASE: AS KOSHER AS IT GETS

Notes
1. Robert Karl Gnuse, No Other Gods: Emergent Monotheism in Israel, Sheffield: Sheffield Academic Press, 1997, pp. 69-70
2. Judith M. Hadley, The Cult of Asherah in Ancient Israel and Judah: Evidence for a Hebrew Goddess, Cambridge, UK: University of Cambridge Press, 2000, pp. 108ff
3. Othmar Keel and Christoph Uehlinger, Gods, Goddesses, and Images of God in Ancient Israel (Göttinnen, Götter und Gottessymbole, 1992), Minneapolis: Fortress Press, 1998, pp. 210ff
4. Ze'ev Meshel, Kuntillet Ajrud: An Iron Age Way-Side Religious Center in Sinai, The Shelvy White Leon Levy for Archaeological Publications, Harvard, 2006 (accessed 20.1.2012).
5. Anthony Bonanno, Archaeology and Fertility Cult in the Ancient Mediterranean, University of Malta, 1986, pp. 238ff
6. Keel and Uehlinger, p. 228
7. Ibid, pp. 232-33
8. Nadav Na’aman and Nurit Lissovsky, "Kuntillet ‘Ajrud, Sacred Trees and the Asherah," Tel Aviv, 35, 2008, pp. 186-208 (Thomas Römer, De nouvelles visions sur les récits bibliques des origines, CDF, Paris, 5.2.2009).
9. William G. Dever, Did God Have A Wife?: Archaeology and Folk Religion in Ancient Israel, Eerdmans, 2005; and Judith Hadley, The Cult of Asherah in Ancient Israel and Judah, pp. 122–136
10. A. Shmuel, "Did God Really Have a Wife?", Biblical Archaeology Review, Vol. 32 (2006), pp. 62–66; Mark S. Smith, The Early History of God, Yahweh and Other Deities in Ancient Israel, Eerdmans, 2002, p. xxxii–xxxvi; John Day, Yahweh and the Gods and Goddesses of Canaan, Sheffield Academic Press, 2002, pp. 50–52; André Lemaire, "Who or What Was Yahweh’s Asherah?," BAR, 10:06, Nov/Dec 1984; Kuntillet ‘Ajrud, Mercer Bible Dictionary, Mercer UP, 1991, pp. 494–494; Othmar Keel, Christoph Uehlinger, Gods, Godesses, and Images of God in Ancient Israel, Fortress Press, 1998, p. 237; J.A. Emerton, "Yahweh and His Asherah": the Goddess or Her Symbol?," Vetus Testamentum, Volume 49, Number 3, 1999 , pp. 315–337(23).
11. For obvious reasons, this saying is sometimes expressed as "If grandma had a beard, she would be a grandpa" (Oyb di bobe volt gehat a bord, volt zi geven a zeyde; YiddishWit.com, #8), but the idea it conveys is ultimately the very same.
12. Ez men est khazer zol rinen ariber der bord (Yiddishisms), "If you eat pork, let it run down your beard"; Az men est khazer, zol es shoyn rinen ibern moyl, "If you're going to eat pork, eat it till your mouth drips" (YiddishWit). Both tongue-in-cheek sayings convey the idea that if one is going to do what's forbidden, at least is supposed to enjoy it to the hilt.

Further discussion
André Lemaire, Date et origine des inscriptions hebraïques et pheniciennes de Kuntillet Ajrud, 1984
Kathryn QannaYahu, Kuntillet Ajrud Inscriptions, Lebtahor, accessed 29.1.2012
Sects and Violence in the Ancient World, 2009-11
Ignatz Bernstein, Ignatz Bernstein, Yidishe Shprikhverter un Redensarten, Warsaw, 1908; repr. Jüdische Sprichwörter und Redensarten (Jewish Proverbs and Sayings), Wiesbaden: Fourier Verlag, 1988
YiddishWit Resources
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