Mosaic was a popular medium in art, and small pieces of colored glass and stones were used to create the decorative art. The small pieces wore roughly square in shape and of different colors. Thie is a long history of Mosaic art that flourished extensively in the ancient times. Mosaics are not mere decorations but are historical documents. When studying the mosaics of different religious groups, one can understand the region in the ancient world, when studying the imageries and texts. The decorative details of synagogue and church mosaics reflect the social and cultural life among Jews and Christians. The Jewish population in Roman and Babylon exceeded the strength of the Jews in Israel. The settlement of Jews in Egypt dates back to the sixth century as stated by Ḥa̱klîlî (3). As asserted by Ḥaḵlîlî (1), the mosaic art evolved between the 4rth and 8th century and was based on a spiritual outlook. Figurative symbols and images were employed by the Jews and Christians. The iconography vocabulary of the mosaic is what makes it a distinctive art which was visually pleasing and elaborately decorated.Mosaic on the floor of Beth Alpha depicting the Akedah Jewish narrative art uncovered the Beth Alpha synagogue mosaic is considered an important discovery of the late antique narrative art. The global interpretation of the messianic idea has long been a unifying theme in the historiography of Jewish Art (Fine 228). The mosaic panel dominates the sixth-century floors at Beth Alpha from the floor of the Synagogue of Beth Alpha displays the narrative account of Genesis 22, and reads from left to fight. One can see two servants with the donkey, the ram suspended from a tree, and the hand of God just above the tree (Mulrooney 111). The Jewish community used religious iconography and symbols in the decoration of the architecture and decoration of synagogue (Ḥa̱klîlî 14). However, the architectural details and decorations of the early synagogues were simpler as comparted to the later synagogues. The organization of the images and motifs on the floors at Beth Alpha are towards the near the northern entrance to the basilica mas stated by Fine (233). The ancient mosaic floor of the synagogue of Beit Alpha is located in the Beit She'an Valley. The mosaics were preserved intact for almost 1,500 years and excavations exposed remains of Jewish village of the Byzantine period (The Sacrifice of Isaac 2016). Beit-Alpha was a small Byzantine agriculture village that is located in the foothills of Mt. Giboa, Israel. The entire floor of the ancient synagogue of Beit alpha is covered by a colorful mosaic and comprises of Zodiac, the ark, Jewish ritual objects plus icons of animals, birds, fruits and the geometric patterns. The ancient synagogue was built at the end of the 3rd C and is covered by protective structure (Beth Alpha 2015). The circular format is extraordinary in a Christian context and quite typical of the zodiac pavements found pavements in synagogues in Susiya, Husifa, Beth Alpha, Sepphoris and Hammath Tiberias (HAgan 2013).
The Jewish art on the synagogue mosaic pavements are presented in a narrative manner but are symbolic and abstract. The biblical story is represented in condensed forms. The iconography of each episode is shown in a local style. The essential part of the story is intervention by God, the rescue, and the hope of salvation as stated by Ḥaḵlîlî (94). The artists were free to choose their iconographic sources and select the shape they were used to for the depictions. The purpose was to symbolize the scene rather than depicting it accurately. The inscriptions are not the exact biblical quotations a stated by Ḥaḵlîlî (96). The Jewish communities decorated their major religious structures with narrative illustrations of their religious and social traditions.Describing the art elements The ancient synagogues discovered in Israel may date back to fourth to sixth centuries and are made of mosaics that are very similar to zodiac cycle design. Those mosaics lay inside the main entrances and were visible to all who entered the synagogue from any side. Those zodiac circles may run clockwise or counter -clockwise. Mosaic on the floor of Beth Alpha runs counter-clockwise, and the signs are not coordinated. If one looks carefully, the zodiac figures are in an outward direction, and the figures are directed inwards, the heads pointing inwards. (Hachlili 2002). The mosaic in the central nave carries three panels on the southern side, the northern side and in the center. The panels are surrounded by geometric patterns and paintings of animals, plants, fruits and birds. The Northside carries the music painting of the Biblical story of the binding of Isaac (Beth Alpha 2015). The two young men on the left are wasting with the donkey, as desired by Abraham. On the right side are Abraham and Isaac at the altar and their names are written in Hebrew. Abraham is seen with a Christian halo, and there is a dramatically flaming pyre. The knife and Isaac’s body grab the focus of the eyes. Abraham stands next to an altar with flames rising. He holds a long knife in one hand and his son Isaac in the other. There is a hand emerging from a cloud above Abraham and Isaac that symbolizes an angel of God. The two servants with the donkey and a ram are shown behind Abraham. Abraham is shown ready to perform the sacrifice and hangs Isaac over the fiery altar God’s hand appears in the upper center and instructs Abraham to sacrifice a ram instead of Isaac. The hand of God is shown as a command that Abraham should not raise his hand against the boy. The ram is positioned sideways and stands trapped in the nearby thicket. The positioning of the ram is an odd one, and this may be to show the distance between the two servants and Abraham and Isaac. All the figures in the music are identified with Hebrew labels except the two servants. Very small pieces of square stones are used to create the mosaic floor that is damaged at places. The background is filled with white mosaic stones, and the outlines of the figures are done in the darker shade of brown and black. The hair, skin and trees are depicted with darker and light shades of brown stones. The outline of the figures is done in a simplistic way and their necks are unusually long, and the faces are round. Isaac is smaller in body size wheel Abraham is the largest figure on the mosaic floor. The eyebrows are done in a similar way and in black outlines that merge with the nose. They are filled with the white shaded mosaic and pupils drawn in black. All eyes are frontal and look towards the viewer. All figures carry the same skin tone, except that one servant is darker than the other. Their mouths are shaped as small elliptical outlines. Abraham carries a long beard and wears flowing white draperies, marked with horizontal and vertical darker lines in a mosaic to show the flow. His beard is done in a lighter shade, and his shoes carry a deep gray shade. His arms are curved in an unusual way, and the fingers are not proportionate and look awkward when they hold the sword and Isaac. He wears a crown and has a halo behind his head made of a paler shade of brown mosaic. The lines of the sword are not perfectly straight. His head is angled at a certain angle and turned to one side as if looking at Isaac. Isaac is dressed in white, and although his legs are done in the right perspective, the arms are placed strangely and in an awkward position. His forehead carries a different shade than his face, and he is wearing a hat.
The two servants with the donkey are at the left and wear similar garments and support almost the same hair style. Only, one has a darker shade of hair and skin tone than the other. If one looks closely, the eyes are not the same size, and one is smaller than the other. The servant closer to Abraham is leading the donkey while the other servant stands behind the donkey. Surprisingly, his body is missing. The servant leading the donkey wears a differently designed dress in white, outlined in deep brown and carrying a peculiar design of circles. His feet are covered with an outline that may represent shoes or a kind of covering. He holds a whip in his other hand than dangles loosely on the other side, just behind the ram. As for the other servant, he seems to hold the donkey in one place, and his arms are in an awkward position over the donkey. Both servants wear amulets on their wrists. However, the legs of the servant behind the donkey seem to be missing. The donkey is made clearly with his four legs and two long ears. His body is white, done his hooves are done in a darker shade of brown with a darker outline. He wears a band around his neck with a hanging bell. The eyes of the animal are done in the similar pattern as the humans. However, his ears and legs are done in a clumsy manner. The saddle looks elaborated and is done in two shades of brown. The ram stands tied to a tree and is positioned in an odd way. His face is filled with white mosaic while the body is done in brown. He is shown to carry a long and heavy tail and a horn on his head. His ear hangs down, and his hooves are done differently from the donkey. The mosaic artist attempts some kind of shading by shading the hind leg in a darker shade than the front ones. The tree carries a darker trunk and lighter foliage with dark outlines, clearly marking the lines. Just above the tree, one can see the hand of the God, with the purpose of giving direction to Abraham. It carries a dull pinkish skin tone with well-marked fingers and thumb in a fine outline. The palm of the hand is done in a darker shade. The altar with flames to the extreme right carries a rectangular design. The top has a slightly caved band made in laughter shade, and the upper part has two sections carrying different colors of brown. The flames are shown swirling up in shades of deep orange mosaic work and brown. The artist has tried to give a realistic look to the flames with those curving lines. If one looks closely at the mosaic work on the floor of Beth Alpha, it is made of almost the same size of small stones carrying in different shades to displaying episode from the Bible. However, the artist makes use of smaller sized mosaic to create the outlines. The use of white background with dark figures on tops and darker outlines makes the representation clear and easy to follow.Conclusion When a mosaic is read as a whole, it is easy to reach the significance of its loci and the message behind gets clear. The artistic interpretation possesses its own emphasis and may differ from the literary analysis. The mosaic work is much more than just a decorative or ornamental device and displays the importance of symbolic artistic interpretation. The artistic interpretation may vary from the biblical text when seen from the perspective of the artist. Artists who created mosaics based on the biblical story offer a good visual reading of an episode from the Bible. These motifs made of the mosaic are regarded as historical evidence of God’s promise to his people. The mosaic work on the floor of Beth Alpha is far more refined and developed. Each component of Beth Alpha mosaic emphasizes on a message as the zodiac wheel shows the natural phenomena while the binding of Isaac amends a historical message. The composition of the mosaic is balanced, and each segment carries a significant place in the design. In the end, it is important to remember that the images of Abraham, Isaac and the angels on the floor evoke a different kind of attitude from the visitors and viewers because of the ultimate meaning that reelects the rich liturgical life of the era and as well as an art object.
Works Cited
"Beth Alpha." biblewalks. 2014. Web. 20 March. 2016.
Fine, Steven. "Art and the Liturgical Context of the 'Sepphoris Synagogue Mosaic." Baltimore Hebrew University 1.1 (1999): 226-227. Print.
Hachlili, Rachel. "The Zodiac in Ancient Jewish Synagogal Art: A Review." Jewish Studies Quarterly 9.3 (2002): 219. Web.
HAgan, Shephanie. "Time, Memory, and Mosaics at the Monastery of Lady Mary." Expedition 55.1 (2013): 37. Web.
Ḥa̱klîlî, Rāḥēl. "Ancient Jewish Art and Archaeology in the Diaspora." BRILL 1.1 (1998): 1- 499. Print.
Ḥaḵlîlî, Rāḥēl. "Ancient Mosaic Pavements: Themes, Issues, and Trends: Selected Studies." BRILL 1.1 (2009): 1-317. Print.
Mulrooney, Joe. "The Akeda or the sacrifice of Isaac Creative readings of a text." Iowa 1.1 (n.d.): 111-116. Print.
"The Sacrifice of Isaac." bibleodyssey. 2016. Web. 20 March. 2016.
