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(BAR S636, 1996)
"Judean Pillar Figurines regularly appear in discussions about Israelite religion, monotheism, and female practice. Erin Darby uses Near Eastern texts, iconography, the Hebrew Bible, and the archeology of Jerusalem to explore figurine function, the gender of figurine users, and the relationship between Judean figurines and the Assyrian Empire"--Back cover.
This interdisciplinary volume is a ‘one-stop location’ for the most up-to-date scholarship on Southern Levantine figurines in the Iron Age. The essays address terracotta figurines attested in the Southern Levant from the Iron Age through the Persian Period (1200–333 BCE). The volume deals with the iconography, typology, and find context of female, male, animal, and furniture figurines and discusses their production, appearance, and provenance, including their identification and religious functions. While giving priority to figurines originating from Phoenicia, Philistia, Jordan, and Israel/Palestine, the volume explores the influences of Egyptian, Anatolian, Mesopotamian, and Mediterranean (particularly Cypriot) iconography on Levantine pictorial material.
(New revised edition) Considered the classic and comprehensive work in reckoning the accession of kings, calendars, and coregencies based upon the Old Testament text and other extra-biblical sources.
This volume features a group of select peer-reviewed papers by an international group of authors, both younger and senior academics and researchers, on the frequently neglected popular cult and other ritual practices in prehistoric and ancient Greece and the eastern Mediterranean.
This new examination of the region of Nebuchadrezzar II of Babylon (605-562 BC) includes revised interpretations of the Babylonian Chronicles for his reign, especially for the years of the campaigns against the West and the capture of Jerusalem. Excavations at Babylon are used to give a view of the city in Neo-Babylonian times, including the royal `Hanging Gardens' and the ziggurat. The varied literary genres current in this city of learning in the sixth century BC (including dreams and prophecies) and the role of hostages, exiles, and prisoners of war are used to throw light on the life of the Jewish exiles there. An assessment of the character of Nebuchadrezzar as a military and political leader, religious devotee and legal administrator is attempted on the basis of textual evidence.
These lectures investigate the numerous miniature baked clay images from Canaan, Israel and Judah (c. 1600-600 BC). They constitute vital evidence for the imagery and domestic rituals of ordinary people, but significantly are not explicitly mentioned in the Old Testament. These terracottas are treated as a distinctive phenomenon with roots deep in prehistory and recurrent characteristics across millennia. Attention is focused on whether or not the female representations are worshippers of unknown deities or images of known goddesses, particularly in Early Israelite religion.
Recent archaeological discoveries have encouraged scholars to reinvestigate the Israelite religion. In this book, Judith Hadley uses these discoveries, alongside biblical material and non-biblical inscriptions, to examine the evidence for the worship of Asherah as the partner of God in the Bible. By investigating the Khirbet al-Qom and Kuntillet 'Ajrud inscriptions, for example, where the phrase 'Yahweh and his Asherah' is frequently in evidence, the author asks what the ancient Israelites meant by this, how they construed the relationship between Yahweh and Asherah, and whether in fact the term actually referred to an object of worship rather than to a goddess. The author also evaluates more recent scholarship to substantiate her conclusions. This is a detailed and brilliant study which promises to make a significant contribution to the ongoing debate about the exact nature of Asherah and her significance in pre-exilic Israel and Judah.
Recent tools and findings from the cognitive sciences illuminate religious thought and behaviour in ancient Israel and the Bible. Primarily intended for scholars of the Bible and religion, it is also relevant to cognitive scientists, researchers, and graduate students interested in the intersection of cognition and culture.
Provides a broad view of the history and current state of scholarship on the art of the ancient Near East This book covers the aesthetic traditions of Mesopotamia, Iran, Anatolia, and the Levant, from Neolithic times to the end of the Achaemenid Persian Empire around 330 BCE. It describes and examines the field from a variety of critical perspectives: across approaches and interpretive frameworks, key explanatory concepts, materials and selected media and formats, and zones of interaction. This important work also addresses both traditional and emerging categories of material, intellectual perspectives, and research priorities. The book covers geography and chronology, context and setting, medium and scale, while acknowledging the diversity of regional and cultural traditions and the uneven survival of evidence. Part One of the book considers the methodologies and approaches that the field has drawn on and refined. Part Two addresses terms and concepts critical to understanding the subjects and formal characteristics of the Near Eastern material record, including the intellectual frameworks within which monuments have been approached and interpreted. Part Three surveys the field’s most distinctive and characteristic genres, with special reference to Mesopotamian art and architecture. Part Four considers involvement with artistic traditions across a broader reach, examining connections with Egypt, the Aegean, and the Mediterranean. And finally, Part Five addresses intersections with the closely allied discipline of archaeology and the institutional stewardship of cultural heritage in the modern Middle East. Told from multiple perspectives, A Companion to Ancient Near Eastern Art is an enlightening, must-have book for advanced undergraduate and graduate students of ancient Near East art and Near East history as well as those interested in history and art history.