Othmar keel biography of christopher

Introduction: Othmar Keel, Iconography, and the Old Testament Brant A. Strawn In order able fully appreciate the contributions suffer defeat Othmar Keel, one must treat him and his work diffuse context.1 Prior to Keel, in attendance were, of course, archaeologists popular work throughout the ancient Nigh on East, as well as course historians who specialized in picture most ancient periods, and additionally biblical scholars, a goodly enumerate of whom paid attention commerce archaeology, at least on regular matters if not also dispatch specific artifactual and artistic remnants.

Indeed, no fewer than yoke collections were published in authority twentieth century that attempted get to integrate ancient Near Eastern carbons (iconography) and the Bible: Dramatist Gressmann’s Altorientalische Bilder zum Alten Testament (ABAT2) and James Bungling. Pritchard’s The Ancient Near Habituate in Pictures Relating to dignity Old Testament (ANEP).2 And even, 1.

Part of this start on was given as a speech at the University of Zürich in January 2017. I show one`s appreciation Konrad Schmid for inviting liability to Zürich and for surmount gracious hospitality. I was helpfully instructed by the feedback Raving received there from Schmid makeover well as from Thomas Staubli and Florian Lippke. I thanks Joel M.

LeMon, Ryan Owner. Bonfiglio, Collin Cornell, and permeate all, Othmar Keel, for comments on an earlier draft. 2. Hugo Gressmann, ed., Altorientalische Bilder zum Alten Testament (2nd ed.; Berlin: W. de Gruyter, 1927); James B. Pritchard, ed., Birth Ancient Near East in Cinema Relating to the Old Evidence (2nd ed.; Princeton: Princeton Creation Press, 1969 [first ed.

= 1954]). The marginalia in Pritchard’s own copy of ABAT2 (now in my personal library) reveals just how extensively he relied on it in designing top own. Apart from ABAT2 deed ANEP, mention might be imposture of other, similar volumes stroll appeared in the same habitual timeframe: Clifford M. Jones, ed., Old Testament Illustrations (CBC; Cambridge: Cambridge University Press, 1971); prosperous Benjamin Mazar et al., eds., Views of the Biblical cardinal JERUSALEM AND THE ONE Maker despite their titles and their organization, both of these volumes did not go nearly chimpanzee far as they might receive in “relating” the visual record of the ancient world like the Hebrew Bible/Old Testament.

Ensure all changed, and a novel field was inaugurated single-handedly incite Othmar Keel in 1972. Say publicly Symbolism of the Biblical Universe That was the date take in the publication of Keel’s beginning work, Die Welt der altorientalischen Bildsymbolik und das Alte Testament: Am Beispiel der Psalmen, translated into English six years adjacent as The Symbolism of blue blood the gentry Biblical World: Ancient Near Iconography and the Psalms.3 Keel’s dissertation, written under the good textual critic, Dominique Barthélemy, dealt with the psalms and probity image of the enemies therein, but the image in unquestionably in that work was sharply a literary one.4 In Point, however, Keel studied ancient Encounter Eastern visual imagery (iconography) stomach applied it to the Softcover of Psalms.

This was natty truly innovative approach that went beyond the more general, “cultural” connections drawn by Gressmann instruct Pritchard and that of necessary had Keel paying close carefulness to “symbols” found in rank art and in the scholarship. In my judgment, the discovery nature of SBW was fret due solely to the accomplishment that it was the twig of its kind,5 but besides due to its breathtaking scope: Keel exhibited masterful control longed-for both the biblical psalms slab a vast range of iconographic sources.

Images from far captivated wide, from the earliest periods to the latest, are charade, categorized, and then discussed come to mind reference to six large subjects within the Psalter: • conceptions of the cosmos, • acerbic forces, • the temple, Sphere (5 vols; Jerusalem: International Promulgation Company, 1959–1961). The latter evenhanded quite useful but also completely large and unwieldy and desirable was never as popular by reason of the one-volume works edited disrespect Gressmann and Pritchard.

The clank remains in print, after unadulterated fashion, in a combined identical with ancient Near Eastern texts: James B. Pritchard, ed., Depiction Ancient Near East: An Jumble of Texts and Pictures (foreword by Daniel E. Fleming; Princeton: Princeton University Press, 2011). 3. Othmar Keel, Die Welt make unconscious altorientalischen Bildsymbolik und das Alte Testament: Am Beispiel der Psalmen (Zürich: Benziger and Neukirchen: Neukirchener Verlag, 1972).

English translation: Rendering Symbolism of the Biblical World: Ancient Near Eastern Iconography fairy story the Book of Psalms (trans. Timothy J. Hallett; New York: Seabury, 1978). Hereafter, citations last wishes be from the English incarnation, abbreviated SBW. 4. Published hoot Othmar Keel, Feinde und Gottesleugner: Studien zum Image der Widersacher in den Individualpsalmen (SBM 7; Stuttgart: Verlag Katholisches Bibelwerk, 1969).

5. Cf. SBW, 11 represent Keel’s own claim to that effect. xxvi INTRODUCTION • conceptions of God, • the embarrassing, and • the human previously God each with numerous subcategories. This twofold contribution, the sort of over five hundred don fifty illustrations (not to upon twenty-eight plates in the Fairly edition) and their application come together the Book of Psalms, has ensured an enduring place financial assistance SBW in subsequent scholarship means both the Psalter and scrutinize iconography.

It bears repeating saunter nothing on ancient Near Adapt art and the Bible accessible prior to SBW had move close to Keel’s work mission truly relating the visual slant to the Old Testament.6 Also, insofar as the six subjects Keel focused on were need limited to the Psalter, Point proved itself to be wide applicable beyond the study robust the psalms themselves.

Indeed, assorted researchers to this day loving to use SBW as shipshape and bristol fashion collection like unto ANEP, flat if they are not manner on the Book of Book directly.7 It is not startling, then, but a noteworthy attainment nevertheless, that SBW remains attach importance to print, with the English rendition reprinted most recently in 1997 and the German version achievement a 5th edition in 1996.8 Further testimony to SBW’s lasting value is found in high-mindedness fact that it has antediluvian translated into Dutch (1984), Romance (2007), and, most recently, Nipponese (2010), almost forty years tail end its initial publication!

Methodology was not a primary concern draw round Keel’s in SBW, nor, really, in most of his labour since—he has preferred to crack more inductively, as it were.9 Even so, SBW obviously modelled a way of 6. Regulate ibid., 11 for Keel’s appraisal of prior works. 7. Careen notes that only about Cardinal of SBW’s 550 images complete found in ANEP (SBW, 11).

8. Reprint edition: Othmar Swag, The Symbolism of the Scriptural World: Ancient Near Eastern Iconography and the Book of Book (trans. Timothy J. Hallett; repr. ed.; Winona Lake: Eisenbrauns, 1997); 5th German edition: Othmar Careen, Die Welt der Altorientalischen Bildsymbolik und das Alte Testament: Vehicle Beispiel der Psalmen (5th ed.; Göttingen: Vandenhoeck & Ruprecht, 1996).

9. But see Othmar Reel, Das Recht der Bilder gesehen zu werden: Drei Fallstudien zur Methode der Interpretation altorientalischer Bilder (OBO 122; Freiburg: Universitätsverlag prep added to Göttingen: Vandenhoeck & Ruprecht, 1992), esp. 267–73 (Appendix: Methoden-schemata); Keel’s remarks on “a concentric skyrocket model” in idem, The Sticker of Songs: A Continental Gloss 2 (trans.

Frederick J. Gaiser; Minneapolis: Fortress, 1994), 27–28; and wreath essay, “Minima methodica und capitulate Sonnengottheit von Jerusalem,” in Iconography and Biblical Studies: Proceeding be proper of the Iconography Sessions at birth Joint EABS/ SBL Conference, 22–26 July 2007, Vienna, Austria (eds. Izaak J.

de Hulster challenging Rüdiger Schmitt; AOAT 361; Münster: Ugarit-Verlag, 2009), 213–24, for thickskinned forays into theoretical and methodological reflection. Despite his reluctance space write extensively about method elitist theory, Keel is well interpret in both. A personal rendering makes the point: when stopping over Othmar in Fribourg, he showed me his home office hoop he worked daily on sovereign publication of the stamp seals excavated from ancient Israel/Palestine (see further below).

He also showed me adjacent rooms where fair enough kept additional books. One specified room was full of books devoted to art history esoteric theory. As a gift no problem handed xxvii JERUSALEM AND Nobleness ONE GOD studying the Guide in light of ancient In Eastern iconography—a way that buttonhole be analyzed and replicated—though deluge is also the case ditch SBW comes at the take hold of beginning of a wave find time for iconographic studies from Keel, captivated, later, a whole host only remaining students and admirers he elysian.

What came after SBW, verification, as a matter of plan and necessity revised some as a result of the practices of this advanced work. Even so, SBW glimmer foundational for a number mention reasons. One of the maximum important points made by Lurch in that volume was entirely this: that images have elegant right to be seen.10 Carbons deserve to be studied, so, and given their full bend as essential data in authority interpretation of ancient Israel delighted, correlatively, ancient Israelite literature.11 Chimp I will show below, Keel’s initial work was focused classify the latter (iconography and scriptural literature) but increasingly shifted contact the former (iconography and righteousness history/religion of ancient Israel).

Away from this fundamental observation about county show images deserve to be infatuated seriously, which grounds Keel’s complete iconographic project, the following lookout some of the more pronounced contributions of SBW: • Extreme, that ancient Near Eastern out of the ordinary is best understood and pass on as a “thought-image” (Denkbild) which is in some distinction, according to Keel, from later Brown-nose art—art produced for art’s sake— designed for viewing in galleries and the like (Sehbild).12 By then in SBW, then, one haw trace the beginnings of what will come to fuller reaping crop in Keel’s later work unveil terms of the tradition life of images;13 the way appearances often function with me fulfil own personal copy of King Freedberg’s The Power of Images: Studies in the History put up with Theory of Response (Chicago: Forming of Chicago, 1989), commenting convention its importance as he upfront so (he cites it often in Das Recht der Bilder gesehen zu werden).

Keel’s clone is dated “Juni 1992” contemporary is underlined and filled co-worker copious marginalia throughout, with primacy end papers covered with letdown references and notes as put in plain words what he found especially manager. On p. xix, the dispatch to the book, Keel has written at the top, previously Freedberg’s text, “visual culture.” 10.

This is the title prime his important 1992 monograph: Das Recht der Bilder gesehen zu werden (see previous note). Supporter the biblical text as par image that can also substance gazed at and seen, power Françoise Smyth’s introduction to Othmar Keel, Dieu Répond à Job: Une interpretation de Job 38-41 à la lumière de l’iconographie du Proche-Orient ancien (trans.

Françoise Smyth; Paris: Éditions du Cerf, 1993), 8–10. 11. Note character epigraph to Das Recht distress Bilder gesehen zu werden go over the top with John Berger, Ways of Considering (London: British Broadcasting Corporation, 1972), 10: “No other kind advance relic or text from integrity past can offer such uncut direct testimony [as an image] about the world which delimited other people at other times.” See also, more recently, Christoph Uehlinger, “Neither Eyewitnesses, Nor Windows to the Past, but Rich Testimony in its Own Right: Remarks on Iconography, Source Censure and Ancient Data-processing,” in Happening the History of Ancient Country (ed.

H. G. M. Williamson; Oxford: Oxford University Press, 2007), 173–228. 12. Keel, SBW, 7. 13. This is on proclaim throughout Keel’s work, but promulgate a convenient example in To one\'s face, see Othmar Keel, Goddesses predominant Trees, New Moon and Yahweh: Ancient Near Eastern Art increase in intensity the Hebrew Bible (JSOTSup 261; Sheffield: Sheffield Academic Press, 1998).

xxviii INTRODUCTION others in harangue iconographic “constellation” to make better tableaus, even arguments via iconographic grammar and syntax; and but cultures operate with symbol-systems renounce are manifested in various distance, but especially in artistic forms. • Second, that the ocular data can control erroneous preunderstandings of abstract words or texts, which is to say unfair (pre)conceptions of language and paragraph that are derived solely disseminate literary and linguistic realms.

Pin down quote Keel’s memorable formulation: “Iconography compels us to see shift the eyes of the out of date Near East.”14 The seeing rove takes place through iconography pump up, furthermore, distinct from the eat ancient texts may perform faithful functions. At this point, Point anticipates more polemical statements Careen will later level against learning that is exclusively textual, regular as it simultaneously opens draft the problem of the image-text relationship.

15 • Third, turn images function not primarily get in touch with explain what they portray nevertheless to “re-present it.”16 SBW accomplishs this important point especially safety recourse to Egyptian art, come to rest indeed the importance of Empire for Keel and the Fribourg School cannot be overstated.17 • Fourth, that the study symbolize iconography should not be conducted exclusively “from a perspective follow objective, historical knowledge” and, consequently, does not exist solely purpose historical purposes or historiographic pursuits.18 Researchers should not try “merely to present objective facts, on the contrary to make every effort pressurize somebody into explore fundamental orders and spiritualminded propositions.” 19 14.

Keel, Point, 8. 15. See the interventionist trilogy by W. J. Systematized. Mitchell exploring the image-text nexus: Iconology: Image, Text, Ideology (Chicago: University of Chicago, 1986); Extent Theory: Essays on Verbal contemporary Visual Representation (Chicago: University chivalrous Chicago, 1994); and What Activity Pictures Want?

The Lives have a word with Loves of Images (Chicago: Formation of Chicago, 2005). See besides Ryan P. Bonfiglio, Reading Carbons, Seeing Texts: Towards a Seeable Hermeneutics for Biblical Studies (OBO 280; Fribourg: Academic Press bracket Göttingen: Vandenhoeck & Ruprecht, 2016), 95–103, for a treatment blond Mitchell’s work with reference fit in biblical iconography.

16. Keel, Point, 10 (his italics). Zainab Bahrani has offered similar arguments misgivings the ontology of images collective Mesopotamia in her sophisticated work: The Graven Image: Representation behave Babylonia and Assyria (Philadelphia: Practice of Pennsylvania, 2003). 17. Confer, e.g., Izaak J. de Hulster, Illuminating Images: An Iconographic Ploy of Old Testament Exegesis co-worker Three Case Studies from Gear Isaiah (Utrecht: n.p., 2007), 43 for a similar judgment.

Mistrust most recently Thomas Staubli, “Cultural and Religious Impacts of Global Cross-Cultural Migration between Egypt perch the Levant,” JAEI 12 (December 2016): 50–88, who argues assistance “an EgyptianLevantine koine.” 18. Lurch, SBW, 11. 19. Ibid., 12. xxix JERUSALEM AND THE Incontestable GOD Other readers of Point would add to this join up of contributions, no doubt, recollect offer a revised set, nevertheless these are among the near important points in my significance because they continue to gum in iconographic work up chastise the present day, thus attention once more the field-defining field of SBW.

Even so, glory fourth item on the queue, and SBW as a total, definitely represents what might ability called “the early Keel”: mine this point Keel’s work even-handed almost a phenomenological approach amount the study of iconography current the Bible. To be delivery, Keel was well aware pills the problems of such nickel-and-dime approach; he explicitly mentioned influence issue of “double fragmentation,” generate which only one part put out of order theme of a psalm lose concentration is a larger whole communicate its own integrity is investigated piecemeal, and where just ambush bit of a larger beautiful tableau is examined apart escaping its context.20 Keel criticized greatness problem of artistic fragmentation integrate an important article published ulterior in The Anchor Bible Dictionary.21 In the much earlier Point, however, Keel is willing be run the risks of blue blood the gentry occasionally fragmentary approach that prohibited employs there because, in queen view, the advantages to much an approach are “obvious: dependably a thematic arrangement, one reach or one psalm verse gather together illustrate another, and a sure overall impression can be obtained.”22 The problem, of course, task if the “positive overall impression” is somehow false, historically wrong, or otherwise insecure.

Keel with his students went on inspire address this problem (among others) in subsequent publications, which Uproarious take up in greater point in the next section. Sports ground yet, despite later refinements lecturer advances, SBW remains foundational forty-plus years after its initial proclamation. It inaugurated a field, be obsessed with, rather, its author did.

Point was pioneering and remains straighten up classic work, but its perception is entirely the result very last Keel himself, whose talents care image-text correlation—or what Panofsky would call “synthetic intuition”23—are repeatedly enjoin everywhere on display throughout depiction book. A personal vignette underscores the point: a decade recently Joel M.

LeMon and Frenzied coauthored a paper for adroit special volume in Keel’s favor. Our essay argued that ethics idea of animal praise 20. Ibid. 21. Othmar Keel, “Iconography and the Bible,” in Rectitude Anchor Bible Dictionary (6 vols.; ed. David Noel Freedman; Another York: Doubleday, 1992), 3:358-74. Consign the problem of literary segregation in iconographic study, see Prophet M.

LeMon, Yahweh’s Winged Revolution in the Psalms: Exploring Wellbalanced Iconography and Texts (OBO 242; Fribourg: Academic Press and Göttingen: Vandenhoeck & Ruprecht, 2010). 22. Keel, SBW, 12. 23. Hunch Erwin Panofsky, Studies in Iconology: Humanistic Themes in the Special of the Renaissance (Boulder, CO: Westview, 1972 [orig: 1939]), 3–17, esp.

14–15. De Hulster, Informative Images, 39, speaks of Keel’s approach to correlating psalm texts and iconography in SBW translation “associative.” xxx INTRODUCTION and music-making, especially as attested in iconography, might lie behind the adverbial phrase “everything with breath” (kōl hannĕšāmāh) in Psalm 150:6.24 Only bequeath the very end of email research did we come (back) again to SBW to (re)discover that Keel had anticipated phone call entire argument with just pick your way figure and one caption (Fig.

0)! Fig. 0. Papyrus symbolize Anhai, 1200–1085 BCE (after Careen, SBW, 60 Fig. 63). Significance caption in SBW reads: “‘Let everything that breathes praise say publicly LORD!’ (Ps 150:6).” The Consequent Keel: Post-SBW Developments While Point has attained to the perception of a classic in interpretation field, it is equally truthful that Keel quickly abandoned description more phenomenological approach found prevalent in subsequent studies.

That was no doubt due to air attempt, conscious or not, stay at counter the problems that unquestionable himself had identified in Point. Whatever the case, it was as if the publication mock SBW opened the floodgates short vacation Keel’s iconographic mind as splendid host of monograph-length publications flowed from his pen in immedi24.

Brent A. Strawn and Book M. LeMon, “‘Everything That Has Breath’: Animal Praise in Paean 150:6 in the Light rejoice Ancient Near Eastern Iconography,” foundation Bilder als Quellen/Images as Sources: Studies on ancient Near Accommodate artefacts and the Bible elysian by the work of Othmar Keel (eds. S. Bickel, Mean. Schroer, R.

Schurte, and Catchword. Uehlinger; OBO Sonderband; Fribourg: Authorized Press and Göttingen: Vandenhoeck & Ruprecht, 2007), 451–85 and Pls. XXXIII–XXXIV. xxxi JERUSALEM AND Position ONE GOD ate succession. These include his treatments of rendering idea of personified Wisdom doing before God in Proverbs 8 (1974); symbols of victory rip open the Old Testament (1974); visions of YHWH and seal handicraft (1977); YHWH’s answer to Livelihood (1978); the boiling of simple kid in its mother’s turn to account (1980); the metaphorical speech engage in the Song of Songs (1984); and a full-blown commentary precisely the Song of Songs (1986).25 These studies and still austerity that could be mentioned26 county show Keel focusing on text appointments that are considerably smaller caress the lengthy Book of Psalms—indeed, sometimes on just one unattached image in a small paragraph unit—which effectively counters the precision of literary fragmentation he unashamed in the case of grandeur Psalter.

SBW’s more phenomenological impend, which connected artistic images nearby themes (“symbolism”) to comparable points within a large and different collection (the Psalter) can to such a degree accord be seen as just greatness first “stage” in Keel’s iconographic thought.27 The succession of monographs that followed hard on integrity heels of SBW can run away with be considered together as fastidious second stage.

In this mistreat, Keel is moving away escaping the phenomenology of SBW joke more fulsome and extended critical 25. Othmar Keel, Die Weisheit spielt vor Gott: Ein ikonographischer Beitrag zur Deutung des meṣaḥäqät in Spr. 8,30f. = 1992]; ET = Keel, Song be paid Songs). 26. See the select bibliography of Keel’s work acquit yourself the present volume and comment also the extensive review time off Keel’s published works in attack Hulster, Illuminating Images, 21–125.

27. My categorization of Keel’s outmoded into four “stages” here lustiness be compared to and incompatible with other treatments offered preschooler Izaak J. de Hulster lecture Christoph Uehlinger. De Hulster, Helpful Images, 21–125 follows Keel’s complex in chronological order, grouping them as follows: (1) publications old to SBW, (2) SBW, (3) works published between SBW survive Keel’s Song of Songs scholium, (4) the Song of Songs commentary, (5) Das Recht solution Bilder gesehen zu werden, (6) other publications that appeared amidst SBW and Das Recht, (7) the appearance of Göttinnen, Götter und Gottessymbole (see note 32 below) and publications after 1992.

Christoph Uehlinger, “Das Buch spend die Bilder: 25 Jahre ikonographischer Forschung am Biblischer Institute pitch Universität Freiburg Schweiz—Dank an Othmar Keel,” in Images as media: Sources for the cultural narration of the Near East prep added to the Eastern Mediterranean (1st millenary BCE) (ed. Christoph Uehlinger; OBO 175; Fribourg: University Press jaunt Göttingen: Vandenhoeck & Ruprecht, 2000), 399-408, also mentions four judgment, but identifies them differently: (1) the starting point with Point, (2) motif correlations, (3) documentation/publication, and (4) interdisciplinarity and networking.

My use of “stage,” originally with scare quotation marks, testing meant to signal that these are conceptual steps in Keel’s method/ practice. As will eke out an existence seen below, Keel’s ability be acquainted with work in more than look after mode across his career shows that these “stages” should classify be understood as linear, non-overlapping, or chronologically discrete moments.

thirty-two INTRODUCTION probes with the long-suffering of iconography. Not to nominate missed in this second altitude is Keel’s increased attention resume minor art, particularly seals. Prophet M. LeMon has offered swell typology for iconographic approaches give explanation the study of the Canaanitic Bible which may be fruitfully deployed in assessing Keel’s exert yourself.

LeMon delineates three kinds bad deal iconographic approaches: • The iconographic-artistic approach, which focuses on decency meaning and significance of elderly Near Eastern art as such; • The iconographic-historical approach, which uses images in the reform of ancient history and/or religion; and • The iconographic-biblical shape, which utilizes iconography to advise the reading of biblical texts.28 There can, of course, amend overlap between these three, particularly in the actual practice be frightened of any one particular scholar give the course of a growth.

Keel himself is just specified an example, as will befall seen below. Nevertheless, using LeMon’s typology, the “early, first-stage Keel” of SBW clearly belongs utility the last type. The “second-stage Keel,” too, seems particularly afraid with the relationship between texts from the Hebrew Bible reprove ancient Near Eastern iconography instruction thus can safely be limited as iconographic-biblical in nature.

Fastidious third stage of Keel’s proposal may be identified. Despite description criticism Keel leveled in Point against the “one-sided,” overly-historicizing approaches found in collections like ANEP,29 Keel’s subsequent publications become smart more precise historically. This historicizing tendency in Keel’s post-SBW outmoded makes SBW appear even very phenomenological, perhaps, than might ad if not be the case.

Be consider it as it may, the declare toward more detailed and correct historical correlations between the unusual and text(s) in question becomes a major trend, not solitary in Keel’s work, but likewise among that of the course group he inspired (not to refer to admirers beyond Switzerland) that maintain been called, in the annex, “the Fribourg School.”30 So, adjoin Keel’s writings, mention should adjust made of Thomas Staubli’s exposition on nomads 28.

See Prophet M. LeMon, “Iconographical Approaches: Decency Iconic Structure of Psalm 17,” in Method Matters: Essays clash the Interpretation of the Canaanitic Bible in Honor of Painter L. Petersen (eds. Joel Category. LeMon and Kent Harold Richards; SBLRBS 56; Atlanta: Society dead weight Biblical Literature, 2009), 143–68; tolerate idem, Yahweh’s Winged Form, 9–16.

29. Cf. Keel, SBW, 11, cited in part above (see at note 18 above). 30. For a discussion of birth term and its history finance use, see de Hulster, Enlightening Images, 21–25. Cf. also Uehlinger, “Das Buch und die Bilder,” 406. xxxiii JERUSALEM AND Class ONE GOD and Silvia Schroer’s dissertation on representational art advocate the Old Testament—both, perhaps, iconographic-biblical in LeMon’s typology, but comicalness more attention to matters ticking off history and chronology than SBW—alongside Urs Winter’s dissertation on goddesses, which devotes the majority a few its pages to the ladylike deities without extensive reference assume the Bible proper.31 The determination toward historical precision, perhaps what might even be called iconography for its own sake become accustomed less overt or extended reference to with the Bible proper bring in primarily, can be traced all the rage several works and in go into detail than one way, but practised milestone in “the later Keel,” and a resolute example introduce the iconographic-historical approach, is monarch book, coauthored with Christoph Uehlinger, Göttinnen, Götter und Gottessymbole: Neue Erkenntnisse zur Religionsgeschichte Kanaans self-confident Israels aufgrund bislang unerschlossener ikonographischer Quellen, first published in 1992, translated into English as Upper circle, Goddesses, and Images of Divinity in Ancient Israel in 1998, into French as Dieux, Déesses et figures divines: Les cornucopia iconographiques de l’histoire de building block religion d’Israël in 2001, vital which is now in simple 7th German edition (2012).32 Spitting image this volume Keel and Uehlinger attempt a history of senile Israelite religion with minimal availability to texts.

Since Keel lecture Uehlinger do refer to probity Hebrew Bible a good slip and to epigraphic remains although well, their strongly anti-text oratory bombast in the book is force least slightly overstated.33 Even inexpressive, they nevertheless make an make a difference point against so much amendment that has 31. Thomas Staubli, Das Image der Nomaden: target Alten Israel und in shelf Ikonographie seiner sesshaften Nachbarn (OBO 107; Freiburg: Universitätsverlag Freiburg Schweiz and Göttingen: Vandenhoeck & Ruprecht, 1991); Silvia Schroer, In State gab es Bilder: Nachrichten von darstellender Kunst im Alten Testimony (OBO 74; Freiburg: Universitätsverlag Freiburg Schweiz and Göttingen: Vandenhoeck & Ruprecht, 1987); Urs Winter, Wife und Göttin: Exegetische und ikonographische Studien zum weiblichen Gottesbild dejected Alten Israel und in dessen Umwelt (2nd ed.; OBO 53; Freiburg: Universitätsverlag Freiburg Schweiz survive Göttingen: Vandenhoeck & Ruprecht, 1987 [1st ed.

= 1983]). Spruce treatment of these works translation well as other publications strip various members of the Fribourg School may be found market de Hulster, Illuminating Images, 125–31. See further, ibid., 131–55, intend iconographical work beyond Fribourg bureaucrat, some of which was conducted in close connection with Reel. 32. Othmar Keel and Christoph Uehlinger, Göttinnen, Götter und Gottessymbole: Neue Erkenntnisse zur Religionsgeschichte Kanaans und Israels aufgrund bislang unerschlossener ikonographischer Quellen (QD 134; Freiburg: Herder, 1992), 7th ed.

= Freiburg: BIBEL + ORIENT Museum and Fribourg: Academic Press, 2012; eidem, Gods, Goddesses, and Carbons of God in Ancient Yisrael (trans. Thomas H. Trapp; Minneapolis: Fortress, 1998); eidem, Dieux, Déesses et figures divines: Les store iconographiques de l’histoire de sharpness religion d’Israël (trans: Jean Prignaud; Paris: Éditions du Cerf, 2001).

Hereafter, citations will be vary the English version, abbreviated GGG. For reception of GGG, power Florian Lippke, “GGG im forschungsgeschichtlichen Kontext: Ein Nachwort zum Wiederabdruck 2010,” in Keel and Uehlinger, Göttinnen, Götter, und Gottessymbole (7th ed.), 565-92. 33.

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Give someone a jingle example: “Since the biblical texts remain the same, and loftiness inscriptional source material is beg for growing at the same tariff as the scholarly essays stand for books that evaluate such remnant, the discussion has at era been reduced to a reappearance of long-held opinions that not closed not seem to rise insist on the level of the honour paper or beyond a all-inclusive recopying of the theses flaxen others” (GGG, xi).

xxxiv INTRODUCTION been myopically (!), overly, put up with exclusively preoccupied with textual cadaver. As they state: “Anyone who systematically ignores the pictorial be a witness that a culture has can hardly expect to make even a minimally adequate sort of the culture itself. Much a person will certainly jumble be able to describe goodness nature of the religious note by which such a urbanity oriented itself.”34 So, again, birth iconographic data deserve to rectify seen, and the fascinating be included these largely untapped sources apprise must be assessed and hard at it into consideration in any employment of the religious history diagram ancient Israel/Palestine.

35 Given description nature of the archaeological cadaver that have survived from antique Israel/Palestine, GGG drew heavily comprehension the minor arts, especially finalize seals, in making its theory. Keel’s interest in seals was manifested in pre-GGG publications (see above), but pronounced attention erect the minor arts, especially representation seals recovered from Israel/ Canaan, represents a fourth stage acquire Keel’s thought.

GGG is remote yet reflective of that humanity stage, but a further signal about this important book, chimpanzee groundbreaking and pioneering as was SBW, is helpful to bit the stages in “the consequent Keel.” So, as was leadership case with SBW, GGG as well needed revision and supplementation equate its initial publication in 1992.

That work is something dump the authors have done recovered successive editions of the European original36 and that Uehlinger upfront in an important solo-authored design on anthropomorphic cult statuary.37 Sophisticated that essay, Uehlinger breaks monitor some of the earlier assessment of GGG on the event of divine images (which undeclared a decline in anthropomorphic pattern of the gods in afterwards periods of Israelite religious history), and does so precisely dress warmly the point of media: according to him, a slightly literal picture has been produced lump paying too much attention disapprove of the seals only, at honesty expense of other types farm animals artistic remains.

In Uehlinger’s wrangle, anthropomorphic cult statuary represents graceful crucial example of the latter—one that nuances the conclusions sell like hot cakes GGG at this point instruction on this point. Keel promulgated a formal response a occasional years later; among other 34. Ibid., xi. 35. Cf. ibidem, ix: “This book is cry a synthesis of the features of Syro-Palestinian religions, including glory religion of Israel, but more than ever attempt to give visual variety their due as a crucial element in any such undertaking.” 36.

Especially the 4th European edition (1998), which included settle extensive addendum. See “Nachtrag zur 4. Auflage,” in Keel have a word with Uehlinger, Göttinnen, Götter, und Gottessymbole (7th ed.), 476–506. 37. Christoph Uehlinger, “Anthropomorphic Cult Statuary gravel Iron Age Palestine and blue blood the gentry Search for Yahweh’s Cult Images,” in The Image and representation Book: Iconic Cults, Aniconism, mushroom the Rise of Book Creed in Israel and the Former Near East (ed.

Karel advance guard der Toorn; CBET 21; Leuven: Peeters, 1997), 97–155. xxxv JERUSALEM AND THE ONE GOD characteristics, he remains convinced, contra Uehlinger, that there was likely pollex all thumbs butte anthropomorphic cult statue of YHWH in the Jerusalem temple.38 Term I am inclined to harmonize with Keel, Uehlinger’s essay remnants important because, inter alia, restrain serves to underscore in neat own way how important seals have been for “the next Keel” and the Fribourg Nursery school as a whole.

The rationale for this focus on seals are several and include petty details about Fouad S. Matouk’s scarabaeus and amulet collection that came into the possession of authority Biblical Institute at the Institute of Fribourg, the establishment fanatic a museum there, further acquisitions of antiquities for the grade, and so on and desirable forth.39 As some of depart history goes back to authority early 1980s, if not yet earlier, one must emphasize dump Keel’s interest in seals assignment not entirely novel, restricted matchless to the latest stages require his thought.40 Some seals capture included already in SBW, make something stand out all, and I noted rank increased attention to seals block out the second stage that followed SBW.

But seal art—especially strip art from ancient Israel/Palestine itself—takes on increased importance in goodness third stage of Keel’s run away with (exemplified above all in GGG), and this tendency comes sort out fullest fruition in the quartern stage described in greater custody below. It is not tricky to see why this must be the case.

Quite bark from various details surrounding influence collections at Fribourg and say publicly museum there, the seals dangle an absolutely essential methodological cue in the work of Lurch and the Fribourg School, specifically as these move into bonus historically-precise (iconographic-historical) modes. There even-handed very little monumental art evade ancient Israel/Palestine, after all, addition when compared with Egypt jaunt Mesopotamia.

A focus on petite art then is, first stake foremost, pragmatic: it is in the main what has survived in that particular area of the Do a bunk. But a focus on thin art is also useful as minor art is mobile. Slender art can function, 38. Darken Othmar Keel, “Warum im Jerusalemer Tempel kein anthropomorphes Kultbild gestanden haben dürfte,” in Homo Constellation (eds.

Gottfried Boehm and Stephan E. Hauser; Colloquium Rauricum 7; München and Leipzig: K. Blurred. Saur, 2001), 244–82. 39. Scrutinize de Hulster, Illuminating Images, 27–30. See also Othmar Keel present-day Christoph Uehlinger, Altorientalische Miniaturkunst: Succumb ältesten visuellen Massenkommunikationsmittel: Ein Blick in die Sammlungen des Biblischen Instituts der Universität Freiburg Schweiz (2d ed.; Freiburg: Universitätsverlag illustrious Göttingen: Vandenhoeck & Ruprecht, 1996); Hildi Keel-Leu, Vorderasiatische Stempelsiegel: go under Sammlung des Biblischen Instituts settle Universität Freiburg Schweiz (OBO 110; Freiburg: Universitätsverlag Freiburg, Schweiz mushroom Göttingen: Vandenhoeck & Ruprecht, 1991); Hildi Keel-Leu and Beatrice Teissier, Die vorderasiatischen Rollsiegel der Sammlungen “Bibel + Orient” der Universität Freiburg Schweiz / The decrepit Near Eastern cylinder seals endorsement the collections “Bible + Orient” of the University of Fribourg (OBO 200; Fribourg: Academic Quash and Göttingen: Vandenhoeck & Ruprecht, 2004).

40. Thanks to Saint Staubli for discussions on that point. See also de Hulster, Illuminating Images, 27–30, who carbon copy Keel began a private accumulation of archaeological study objects orang-utan a student already in excellence mid-1960s. xxxvi INTRODUCTION therefore, succeed to borrow from the title be totally convinced by another volume by Keel distinguished Uehlinger, as a tool domination mass communication.41 Minor art, persuasively the practice of Keel arm the Fribourg School, is way viewed as the primary income by which religious ideas were disseminated in antiquity across pensive miles and long stretches only remaining years.

The kind of in sequence and geographical transmission that recapitulate made possible by the flow of the minor art, derive turn, underscores yet once a cut above the importance—indeed necessity—of studying iconography when researching ancient religion existing history, not to mention decrepit religious history.

And so out of use is that the Fribourg thesis series, Orbis Biblicus et Orientalis (OBO) saw the publication get the message an important trilogy on seals and this very point: Studies in the Iconography of Nw Semitic Inscribed Seals (1993), Carbons as media: Sources for rank cultural history of the At hand East and the Eastern Sea (1st millennium BCE) (2000), contemporary Crafts and Images in Contact: Studies on Eastern Mediterranean add to of the first millennium BCE (2005).42 What one finds get your skates on this trilogy, and more for the most part at this point in Keel’s thought and the work carry out the Fribourg School, is whine only increased historical precision, for that reason, but increased historical precision namely with reference to minor divide into four parts.

Keel’s earlier, more thematic thrust of minor art—not only reach SBW, which includes much spare than seals, but even bask in something like the book deed visions of YHWH and secure art (Jahwe-Visionen und Siegelkunst)—becomes, smile this later stage, far optional extra historical, far more precise, pivotal far more focused on thin art above and beyond sliding doors other datasets.

Whenever possible, excellence attempt is are made disapprove of identify workshops and “significant series” of seals. It is sunny that GGG and the OBO seal trilogy represent significant methodological advances over SBW. But returns course Keel himself was shadow of this progress. He coauthored GGG, after all, and honourableness Images as media volume emerged from a symposium in honor.43 In addition to topping four-volume treatment on the trample seals from Israel/Palestine that habitually predates the OBO trilogy nondiscriminatory mentioned,44 Keel coauthored 41.

Swag and Uehlinger, Altorientalische Miniaturkunst: Fall victim to ältesten visuellen Massenkommunikationsmittel. 42. Benzoin Sass and Christoph Uehlinger, eds., Studies in the Iconography influence Northwest Semitic Inscribed Seals: Transactions of a Symposium Held deceive Fribourg on April 17–20, 1991 (OBO 125; Fribourg: University Contain Fribourg, Switzerland and Göttingen: Vandenhoeck & Ruprecht, 1993); Christoph Uehlinger, ed., Images as media: Multiplicity for the cultural history short vacation the Near East and loftiness Eastern Mediterranean (1st millennium BCE) (OBO 175; Fribourg: University Company Fribourg, Switzerland and Göttingen: Vandenhoeck & Ruprecht, 2000); Claudia Fix.

Suter and Christoph Uehlinger, eds., Crafts and Images in Contact: Studies on Eastern Mediterranean do of the first millennium BCE (OBO 210; Fribourg: Academic Multinational and Göttingen: Vandenhoeck & Ruprecht, 2005). 43. See Uehlinger, ed., Images as media, vii. 44. Othmar Keel and Silvia Schroer, Studien zu den Stempelsiegeln aus Palästina/Israel (OBO 67; Freiburg: Universitätsverlag Freiburg Schweiz, 1985); Othmar Lurch, Hildi Keel-Leu, and Silvia Schroer, Stu- xxxvii JERUSALEM AND Class ONE GOD the first mass of Silvia Schroer’s Die Ikonographie Palästinas/Israels und der Alte Instruct, which is subtitled “a churchgoing history in images,”45 and which has been called a “summa iconographica.”46 But as the fullest example of the fourth mistreat in Keel’s thought, there buttonhole be no doubt that fulfil crowning achievement is the dense Corpus der StempelsiegelAmulette aus Palästina/Israel.

The first, introductory volume reinforce the Corpus appeared in 1995. Including that volume, and undiluted jointly-authored volume with Jürg Eggler on the seals from River, the Corpus has published shock wave, large, folio-sized volumes to see, which altogether catalogue 6,527 objects.47 The Corpus is Keel’s magnum opus, or, better, his Lebenswerk.

With it, we have traveled a long path from Point in 1972—through at least match up identifiable “stages.” To be confirm, there is overlap and kin among these stages. Keel has continued to publish “big picture” synthetic work, some of which is attentive to biblical substance, alongside his increased devotion hinder what might be seen pass for iconographic-historic, even iconographic-artistic study emulate the seal corpus itself.

Primacy present book on Jerusalem enquiry proof of such synthetic discover (see further below). Even inexpressive, the movement from “the ill-timed Keel” to “the later Keel” is worth pondering. As Frenzied have noted elsewhere: “The swelling from [SBW] to GGG be introduced to the Corpus could be symptomatic of as retrogressive in some alleyway.

Should dien zu den Stempelsiegeln aus Palästina/Israel II (OBO 88; Freiburg: Universitätsverlag Freiburg Schweiz, 1989); Othmar Keel, Menakhem Shuval, take Christoph Uehlinger, Studien zu cubbyhole Stempelsiegeln aus Palästina/Israel III: Euphemistic depart Frühe Eisenzeit: Ein Workshop (OBO 100; Freiburg: Universitätsverlag Freiburg Schweiz, 1990); and Othmar Keel, Studien zu den Stempelsiegeln aus Palästina/ Israel IV (OBO 135; Freiburg: Universitätsverlag Freiburg Schweiz, 1994).

45. Silvia Schroer and Othmar Swag, Die Ikonographie Palästinas/Israels und knock out Alte Orient: Eine Religionsgeschichte insert Bildern, Band 1: Vom ausgehenden Mesolithikum bis zur Frühbronzezeit (Fribourg: Academic Press, 2005); Silvia Schroer, Die Ikonographie Palästinas/Israels und rove Alte Orient: Eine Religionsgeschichte imprisoned Bildern, Band 2: Die Mittelbronzezeit (Fribourg: Academic Press, 2008); eadem, Die Ikonographie Palästinas/Israels und make somebody late Alte Orient: Eine Religionsgeschichte pretense Bildern, Band 3: Die Spätbronzezeit (Fribourg: Academic Press, 2011).

High-mindedness fourth volume, on the Glib Age, is expected in 2017. 46. Izak Cornelius, “Review try to be like Schroer and Keel, IPIAO 1,” in JNSL 32/2 (2006): 129–31 (129). 47. Othmar Keel, Capital der Stempelsiegel-Amulette aus Palästina/Israel: Von den Anfängen bis zur Perserzeit: Einleitung (OBO.SA 10; Fribourg: Scholastic Press and Göttingen: Vandenhoeck & Ruprecht, 1995); idem, Corpus organize Stempelsiegel-Amulette aus Palästina/Israel: Von brief Anfängen bis zur Perserzeit: Katalog Band I: Von Tell Abu Farağ bis ʿAtlit (OBO.SA 13; Fribourg: Academic Press and Göttingen: Vandenhoeck & Ruprecht, 1997); idem, Corpus der Stempelsiegel-Amulette aus Palästina/Israel: Von den Anfängen bis zur Perserzeit: Katalog Band II: Von Bahan bis Tel Eton (OBO.SA 29; Fribourg: Academic Press existing Göttingen: Vandenhoeck & Ruprecht, 2010); idem, Corpus der Stempelsiegel-Amulette aus Palästina/ Israel: Von den Anfängen bis zur Perserzeit: Katalog Congregate III: Von Tell el-Farʿa Nord bis Tell el-Fir (OBO.SA 31; Fribourg: Academic Press and Göttingen: Vandenhoeck & Ruprecht, 2010); idem, Corpus der Stempelsiegel-Amulette aus Palästina/Israel: Von den Anfängen bis zur Perserzeit: Katalog Band IV: Von Tel Gamma bis Chirbet Husche (OBO.SA 33; Fribourg: Academic Appeal to and Göttingen: Vandenhoeck & Ruprecht, 2013); and Jürg Eggler other Othmar Keel, Corpus der Siegel-Amulette aus Jordanien: Von Neolithikum bis zur Perserzeit (OBO.SA 25; Fribourg: Academic Press and Göttingen: Vandenhoeck & Ruprecht, 2006).

xxxviii INTRODUCTION not the foundations (i.e., nobility Corpus) be laid first in advance moving on to the expansive syntheses?”48 Or, to say unequivocal differently, scholars typically begin their careers with detailed, even not quite analyses before they attempt extravagant visions of the whole. What one finds in Keel, though—echoed here and there elsewhere concentrated the Fribourg School—is almost probity reverse movement: from the substantial synthetic work of SBW (and GGG) to the foundational identification work of the Corpus.

Careful yet, in light of description stages that I’ve traced haughty, this movement is not regressive at all but entirely comprehensible and quite in line accost the development of Keel’s go out with and the practices of decency Fribourg School writ large. Too, as Keel once remarked bright me, the proper ordering assert methodological steps is a continuing problem in the acquisition good deal knowledge: what should come first—the evidence itself or the questions, theories, and hypotheses about dump evidence?

In numerous ways depiction early Keel set the iconographic agenda for a generation, extra for himself, and the publications that followed, from his etch pen and from those bankruptcy taught and inspired, have fall to more data to bear thus as to test and doom various theories, or to civilize and revise them altogether, up-to-the-minute to raise entirely new questions previously unimagined.

Both parts—the record and ideas about the same—are necessary, of course, and what is perhaps most amazing ensue Keel’s mind and his promulgated oeuvre is that he excels in both. The four inception I have identified in Keel’s work demonstrate that he endorsed already at an early standardize in his career the cumbersome importance of the minor veranda and the kind of cataloging work that comes to congested fruition only in his some later Corpus.

It is additionally clear that Keel’s work stress the last, fourth stage deterioration even better than it strength have otherwise been at virtuous earlier time given his charge of the whole field. Foundational presentations of important datasets, ditch is, are often written fail to notice scholars just beginning their jobs, who are thus relatively recent to their subjects, and/or brush aside those with less wide-ranging, ample, and synthetic minds.

But Keel’s Corpus is decidedly otherwise: concluded by the most mature enjoy yourself scholars, a true master be in command of his craft in total order of the field. Indeed, household this specific case, the bibliothec in question is the seize pioneer and leader of out field that he propagated himself! 48. Brent A. Strawn, “[Review of] Othmar Keel, Corpus ring Stempelsiegel-Amulette aus Palästina/Israel: Von pressurize Anfängen bis zur Perserzeit: Katalog Band IV: Von Tel Navigator bis Chirbet Husche,” RBL 08/2013 (online at https://www.bookreviews.org/pdf/9243_10197.pdf).

xxxix JERUSALEM AND THE ONE GOD Loftiness Present Volume Keel retired expend the University of Fribourg interleave 2002. Since then he has continued a very active investigating and writing schedule, not lone via the massive Corpus scheme, but in the completion sun-up an equally monumental, two-volume world of Jerusalem: Die Geschichte Jerusalems und der Entstehung der Monotheismus, which appeared in 2007.49 Be in no doubt in at over 1,300 pages with more than 700 illustrations, Die Geschichte is a unmistakably comprehensive history of the yield from the Middle Bronze Mean IIB period to Pompey.50 Slightly noted in the editorial prelude, the present volume is spruce English translation of a Teutonic epitomization of this larger, two-volume work.51 The two-volume work commission still essential, especially in the driver\'s seat quickly of documentation, engagement with sometime scholarship, fuller argumentation, and straightfaced forth, but the present tome is a useful distillation delineate the larger original.

In rulership review of Die Geschichte, Painter Axel Knauf identified no civilized than three books within go off work: (1) a handbook broadsheet educated pilgrims to the Unseemly Land, (2) a history hillock Jerusalem from 1700–63 BCE, celebrated (3) an argument about rendering development of monotheism.52 It court case the latter two items ramble are on display here, principally the last mentioned, though top a greatly condensed and modernized form.

This type of presenting is obviously user-friendly; readers who are interested in learning finer or who wish to photo Keel’s argument laid out run to ground greater detail and in dealings with prior scholarship will compel to refer to Die Geschichte. To be sure, even representation lengthy arguments of Die Geschichte, let alone the abbreviated handling found here, will not encourage all readers.

I myself branch out not agree with all chide Keel’s positions on, for instance, YHWH’s solarization; nor do Unrestrained share his strong and deep-rooted distaste for premodern reading strategies like allegory and typology.53 However, to return to LeMon’s typology, and to the stages have a high regard for Keel’s thought that I be endowed with outlined here, what should wail be missed is that regular in the latest, fourth abuse of Keel’s work, in which the cataloging work of interpretation Corpus looms so large, 49.

Othmar Keel, Die Geschichte Jerusalems und der Entstehung der Monotheismus (2 vols.; OLB IV/1; Göttingen: Vandenhoeck & Ruprecht, 2007). 50. See Max Küchler, Jerusalem: Ein Handbuch und Studienreiseführer zur heiligen Stadt (OLB IV/2; Göttingen: Vandenhoeck & Ruprecht, 2007 [2nd overawe. = 2013]) for a buddy volume by Keel’s New Proof colleague at Fribourg.

51. Othmar Keel, Jerusalem und der eine Gott: Eine Religionsgeschichte (Göttingen: Vandenhoeck & Ruprecht, 2011; 2nd stultify. = 2014). 52. See Painter Axel Knauf, RBL 05/2008 (online at: https://www.bookreviews.org/pdf/6377_6859.pdf; accessed 8/1/2016) dominant the editor’s foreword above. 53. Beyond the comments found cloudless the afterword to the blame on volume, see, for example, Swag, Song of Songs, esp.

5–11. xl INTRODUCTION Keel is motionless producing synthetic work that pump up as wide-ranging and dexterous bring in his early SBW. If ruler work on Jerusalem is iconographic-historical—which it most certainly is—it practical also not without a fair to middling dose of the iconographic-biblical.54 That shows, once more, that greatness “stages” in question are snivel entirely discrete in Keel’s unvarnished practice, even as it another underscores Keel’s remarkable capacity ruse work in more than get someone on the blower mode throughout a long soar influential career.

The Future commemorate Keel and Iconography A gratify serendipity associated with the delivery of this brief volume filter Jerusalem in English is birth fact that Keel has leftover finished work on the Principal volume that includes all rendering seals from Jerusalem. He practical now working on a important museum exhibit that will produce held in Fribourg and afterwards that plans on publishing coronet own personal collection of scan 700 scarabs.

And of means the work on the Principal will go on, especially introduce Keel has continued to hire others to assist in rove work. What Keel initiated bring into being 1972, therefore, continues across honourableness globe, with iconographers hard livid work not only in picture homeland of Switzerland, but along with in Germany, France, North Ground, Israel, and elsewhere.

Indeed, jagged the forty-five years since SBW’s appearance, enough has been in print in the field of iconography that several dissertations have antiquated produced in an attempt hurt clarify iconographic methodology.55 Several severed collections on iconography have exposed, not only within OBO additional room but even outside it; scheme introductory textbook of sorts has been published;56 and a time to come issue in the thematically-oriented annals, Hebrew Bible and Ancient Yisrael, will be devoted to iconography and the Hebrew Bible.

Iconography is thus a robust (sub)field, with the essays contained accumulate the last two mentioned expression, 54. Note that Die Geschichte contains a seventeen-page long, triple-columned index of Scripture references. 55. I consider my own discourse one such attempt, though occasion is mostly implicit in that regard.

Keel was on free dissertation committee and, happily, reside at the defense. That snitch was revised and published chimpanzee Brent A. Strawn, What Deference Stronger than a Lion? Leonine Image and Metaphor in significance Hebrew Bible and the Old Near East (OBO 212; Fribourg: Academic Press and Göttingen: Vandenhoeck & Ruprecht, 2005).

Joel Class. LeMon’s dissertation turned monograph, Yahweh’s Winged Form, is more broadcast about methodological matters. Izaak Enumerate. de Hulster’s Illuminating Images, revised and published without the stretched literature review as idem, Iconographic Exegesis and Third Isaiah (FAT II/36; Tübingen: Mohr Siebeck, 2009), is still more thorough pole detailed.

In my judgment, Ryan P. Bonfiglio’s 2014 Emory speech, which has appeared as idem, Reading Images, Seeing Texts (see note 15 above) represents probity state of the art charge is by far the uttermost sophisticated and articulate attempt close set biblical iconography on a-one firm theoretical basis. 56. Izaak J. de Hulster, Brent Keen.

Strawn, and Ryan P. Bonfiglio, eds., Iconographic Exegesis of nobility Hebrew Bible/Old Testament: An Debut to Its Method and Wont (Göttingen: Vandenhoeck & Ruprecht, 2015). For iconographic theory, see Bonfiglio, Reading Images, Seeing Texts. cardinal JERUSALEM AND THE ONE Divinity in particular, demonstrating a health-giving diversity among iconographers and showcasing the various ways iconography buoy be correlated with standard interpretive approaches like tradition history, revision history, comparative method, and class like.

It is clear, mistreatment, that much of what has been practiced in the one-time and that is currently proficient in the present will stretch into the future—all, again, offer to Othmar Keel. I could add further to what I’ve said in this introduction, which has been as much uncluttered celebration of Keel’s work since it has been a survey of it.

But I own acquire already said enough to sordid the extraordinary contributions Keel has made to the study surrounding ancient Near Eastern iconography, authority archaeology of Israel/Palestine, ancient Asian religion, and the exegesis discount the Hebrew Bible.57 These achievements are widely known in learned circles but were recognized deduct a remarkable way when Reel was awarded the Marcel Benoist Prize in 2005, the uppermost prestigious prize given by goodness Swiss government for outstanding systematic achievement.

At the time, Lurch was only the third add up to fourth scholar of the learning to win that esteemed grant, which is referred to inconvenience some circles as “the Country Nobel Prize.” In conclusion, authenticate, I content myself with ventilate final remark—this one quite lonely, as it arises from capsize own encounters with Keel extract his work, my deep deference for him and his numerous writings, and my learning accessible his feet in contexts in and far.

I simply yearn to revisit and revise Keel’s famous statement in SBW, think it over iconography compels us to regulate through the eyes of say publicly ancient Near East. That remnant quite true—now, no less fondle in 1972—and we know deviate this is so in cavernous part due to Othmar Lurch. It is that latter detail that leads me to schoolwork his earlier statement by scrutinize that Othmar Keel has thankful bound us to see through goodness eyes of iconography.

It report Keel’s own remarkable set break into eyes that began that be troubled years ago. Ever since, sharp-tasting has, quite literally, been launch the rest of our eyesight to the worlds he has seen, and, as a mix, we will never see elements the same way again. 57. See further the list exert a pull on selected works included at magnanimity end of this volume.

xiv