E02662: Floor-mosaic with a Greek inscription commemorating the paving of an unnamed martyr shrine (martyrion), probably at a monastery. Floor-mosaics in the aisles show narrative scenes of the Book of Daniel (with *Daniel, the Old Testament Prophet, 00727, and *Shadrach, Meshach, and Abednego, Old Testament Martyrs, S01198), an image of *Moses (S00241), and presumably of the Adoration of the Magi (S00180). Found at Tell Ya‘amun, to the south of en-Nu'eiyima, between al-Husn and Jerash (Jordan/Roman province of Arabia). Dated, perhaps AD 500.
Creators: name: Pnowakowski
Publisher: name: University of Oxford
Year: 2017
Subjects: History

description: Inscription:<br><br>x ἐπὶ τοῦ θεοσεβεστάτου καὶ ὁσι-<br>οτάτου Λεοντίου ἐπισκόπου καὶ τοῦ εὐλ(αβεστάτου) <br>Ἠλία πρεσβ(υτέρου) καὶ Ἰωανίου διακ(όνου) καὶ Καμοῦ-<br>σα καὶ Ἀλαφέου καὶ Μάξιμον, Χασουος, Γερμαμ-<br>η, Σαβατίου, Ἠλία, Σαβατίου καὶ λυποῖς γηρότης ἐψη-<br>θη τὸ μαρτύρην ἐν ἔτι ὀγδόου, χρ(όνοις) ὀγδόης ἰνδικ(τιῶνος)<br><br>3-4. Καμοῦ|σα Tybout in the SEG, Καμου|σα Turshan || 4. Ἀλαφεου Tybout in the SEG, Ἀλαφέου Turshan || Μάξιμον Tybout in the SEG, Μαξίμον Turshan<br><br>'x Under the most God-fearing and most holy bishop Leontios, and the most humble presbyter Elias, and the deacon Ioanios, and Kamousas, and Alaphaios, and Maximos, and Chasouos, Germames, Sabatios, Elias, Sabatios, and other elders, was paved with mosaics this martyr shrine (martyrion). In the eighth year, in the times of the eighth indiction.'<br><br>Text: Turshan 2010, 617. Translation: P. Nowakowski.<br><br>Narrative scenes:<br><br>Although these are not cultic representations, it might be of some interest, that in the north and the south aisle two large panels with narrative scenes were found. The figures were, however, removed and replaced with white tesserae in a period of iconoclasm, and therefore their identification is somewhat doubtful.<br><br>The north aisle houses a floor-mosaic consisting of three large fields. The first (left-hand) field shows a Nilotic scene, probably referring to biblical descriptions of the Nile Delta. The centre of the field is damaged, so we cannot say if any characters were represented here. The middle field shows a nilometer with markings from ι (10) to ιη (18), and with a ladder attached. To the right of the nilometer there is a depiction of a pomegranate tree with five pomegranates. A rod, curved at its end, is attached to the tree, and apparently held by a person whose image was erased. Turshan and Nassar suggest that this is a metaphor for the five books of the Torah, and the erased figure is Moses, collecting the five fruits, as he was credited with the authorship of the Pentateuch. Yet another person was probably depicted to the left of the tree. The editors do not comment on the narrow section of the mosaic, linking the middle and the right-hand field. It shows an erased/damaged shape with two labels: ΑΒ and ΙCΑΚ. Two plants and a large burning cup are also shown. Could this be a reference to Abraham and Isaac or the story of the Burning Bush? The largest, right-hand panel shows four characters of the Book of Daniel, labelled respectively: Daniel, Hananiah, Azariah, and Mishael. The figures are almost entirely erased, though the upper half of the head of Azariah is well preserved. These are the Three Youths (Shadrach, Meshach, and Abednego), thrown into a fiery furnace by Nebuchadnezzar.<br><br>The scene in the south aisle shows three unlabelled figures approaching a domed structure with a hanging lamp. The people stretch their arms towards the building, as if they were offering something. Turshan suggests that these could be the Magi of the Nativity story (Matthew 11), bringing gifts to the Child Jesus (here represented by the burning lamp), or, less plausibly, the three women visiting Jesus' tomb on Easter morning (Luke 24:10). Turshan favours the first possibility and hypothetises (2010, 624): 'The mosaic floor shows that the artist, under the instruction of the clergy, did not portray the body or face of Christ; because of his sanctity, Christ is instead symbolized by the flame of the lamp hanging from the dome. While the artist was not allowed to portray such a face on the floor, he still could show the wise men of Persia — later damaged in an iconoclastic episode.' If so, the mosaic would be a very early, unique representation of the Magi.