The art of the Hellenistic age (here taken as 332 BC to 37 BCE) in Palestine demonstrates the extent to which a province could be integrated into the rich, established culture of the Hellenistic world. Its study here examines the art itself, and specifically the themes, types, iconography, and style of local productions. The study can be instructive on the ethnic texture of Palestine, its regional differences, its widely practiced religion and cults, and its culture in general. Likewise, it may supplement both historical research on the period, which appears to have reached a dead end of sorts, and archaeological inquiry, the results of which have been partial or insufficient. It can help address whether the art was incorporated into the Hellenistic koine, the manner in which it utilized local and foreign elements, and the question of how the culture of the period left a mark so profound that it can be traced until the end of the Byzantine period.

The Hellenistic paintings found in a pair of tombs at Marisa/Maresha in Israel were among the most important surviving examples of Hellenistic art to survive into recent times. The unique painted frieze in the main chamber of one of these tombs depicts 22 different wild animals native to Africa, the Levant and Asia, and few mythical beasts that were believed to inhabit lands beyond India. Also among the painted subjects were the triple-headed Cerberus and a pair of elegant musicians. These paintings were first brought to public attention by John Peters, an American archaeologist and theologian, and Hermann Thiersch, a German classical scholar, who were alerted to the existence of the painted tombs in 1902. Realising that these splendid tombs dated to the 3rd century BC and the importance of the murals, these scholars commissioned a Jerusalem photographer, Chalil Raad, to record them. This was fortunate, because the paintings on the soft chalk walls rapidly deteriorated. Peters and Thiersch were commissioned by the Palestine Exploration Fund to publish a monograph on the painted tombs, illustrated with lithographic copies of the photographs. To mark the centenary of the discovery of the painted tombs, David Jacobson offers a reassessment of the Marisa paintings to accompany a facsimile of the original 1905 publication, now long out of print. The new study examines the religious, cultural and historical significance of the paintings, and also recounts the careers of Peters and Thiersch. This new publication includes, for the first time, the original photographs taken by Raad in 1902, which reveal the fine quality of these ancient works of art.

Publisher Description

This volume examines new developments in the fields of premodern Jewish studies over the last thirty years. The essays in this volume, written by leading experts, are grouped into four overarching temporal areas: the First Temple, Second Temple, Rabbinic, and Medieval periods. These time periods are analyzed through four thematic methodological lenses: the social scientific (history and society), the textual (texts and literature), the material (art, architecture, and archaeology), and the philosophical (religion and thought). Some essays offer a comprehensive look at the state of the field, while others look at specific examples illustrative of their temporal and thematic areas of inquiry. The volume presents a snapshot of the state of the field, encompassing new perspectives, directions, and methodologies, as well as the questions that will animate the field as it develops further. It will be of interest to scholars and students in the field, as well as to educated readers looking to understand the changing face of Jewish studies as a discipline advancing human knowledge

This is the fascinating story of a group of reformers who tried to go too fast, bungled their reform, and so changed the course of history. Hengel's thesis is that Hellenistic influences were, and had been for centuries, smoothly penetrating Judaism even in Jerusalem; there was respect on both sides between Jew and Greek. Then the Greek party tried to go too fast, make Hellenization obligatory and outlaw the Law. This occasioned a furious defensive reaction; Judaism clammed up, became xenophobic and rigoristic, producing the attitude which in its turn created the defensive reaction of anti-Semitism which has stained so many centuries. The defensive rigidity set up in Judaism made it unable to respond to Jesus' creative reinterpretation of the Law, and so led to the rejection of Christianity. This is a truly important scholarly work. The exhaustive collection of evidence will make it a fundamental textbook for the period' (The Tablet). `A foundation book and essential as a source book and as a guide to trends in present research' (The Expository Times). Martin Hengel was Professor of New Testament and Early Judaism in the University of Tubingen.

There is a long tradition in classical scholarship of reducing the Hellenistic period to the spreading of Greek language and culture far beyond the borders of the Mediterranean. More than anything else this perception has hindered an appreciation of the manifold consequences triggered by the creation of new spaces of connectivity linking different cultures and societies in parts of Europe, Asia and Africa. In adopting a new approach this volume explores the effects of the continuous adaptations of ideas and practices to new contexts of meaning on the social imaginaries of the parties participating in these intercultural encounters. The essays show that the seemingly static end-products of the interaction between Greek and non-Greek groups, such as texts, images, and objects, were embedded in long-term discourses, and thus subject to continuously shifting processes.

Artists and Artistic Production in Ancient Greece questions many long-held ideas and provides a deeper understanding of particular artists and architects.

Edited by G. Papantoniou, D. Michaelides and M. Dikomitou-Eliadou, Hellenistic and Roman Terracottas is a collection of 29 chapters with an introduction presenting diverse and innovative approaches (archaeological, stylistic, iconographic, functional, contextual, digital, and physicochemical) in the study of ancient terracottas across the Mediterranean and the Near East, from the Hellenistic period to Late Antiquity. The 34 authors advocate collectively the significance of a holistic approach to the study of coroplastic art, which considers terracottas not simply as works of art but, most importantly, as integral components of ancient material culture. The volume will prove to be an invaluable companion to all those interested in ancient terracottas and their associated iconography and technology, as well as in ancient artefacts and classical archaeology in general.

This handbook provides an important resource for the serious study of the Writings of the Hebrew Bible. It addresses historical and literary contexts as well as its roles as scripture and canon in Judaism and Christianity. The volume provides creative presentations of the messages and import of the books and the canonical division as a whole.