Where There’s Fire There’s Smoke

What critics emphasize in their study of the Bible in art depends on a wide range of issues, including the artist’s sociohistorical context, the purpose for which the art is created, and critics’ own interpretive interests. Because all approaches treat biblical art as interpretation in its own right, critics must first address the relationship between text and image. This chapter applies Cheryl Exum’s method of visual criticism to establish a genuine dialogue between biblical texts and their artistic representations in order to interpret figural representations as artistic solutions to textual cruxes. This method is used to elucidate a difficult scene—the painting of Ezekiel’s vision of the valley of dry bones in the Dura-Europos Synagogue. This scene will be examined in light of textual problems in MT Ezekiel 9:1–6, rabbinic textual interpretation of Ezekiel 8-9, and the iconography of idolatry in the cycle of synagogue paintings. The scene does not focus on every detail in these chapters; rather, it produces evidence of idolatry, in the display of bowls and incense burners and, more dramatically, in the portrayal of the executioners’ search for the protective Tau as they carry out the divine command of judgment. The artists’ selection of these two episodes indicates a keen engagement of the artists with questions of identity and idolatry in the religiously plural city of Dura-Europos. Thus explained, the scene clarifies the contribution of the Ezekiel painting to the synagogue cycle’s emphasis on Jewish identity in a polytheist context.