With respect to the study of the Old Testament/Hebrew Bible, the term iconography refers to the visual images produced in the ancient Near Eastern world. Various types of ancient Near East (ANE) images are attested in the archaeological record, including monumental reliefs, freestanding statues and figurines, picture-bearing coins and ivories, terracottas, amulets, and seals and their impressions. These artistic materials, which constitute an important component of ancient material culture more broadly, display a wide variety of subject matter, ranging from simple depictions of human figures, deities, divine symbols, animals, and vegetation to more complex visual portrayals of worship scenes, battles, and tribute processions. Despite the presence of legal texts in the Old Testament (OT) that ban the production of divine images, ancient Israel produced, imported, and circulated a wealth of images, mostly in the form of seals, scarabs, and amulets.
The study of ANE iconography focuses primarily on the subject matter of images, as opposed to issues pertaining to materiality, technique, style, aesthetics, and provenance. Thus the goal of iconographic investigations is to describe the content of a given image and to interpret the message(s) and ideas it was intended to convey. This process often entails analyzing the development of certain motifs over time and how they were deployed in various historical, religious, and social contexts. In this sense, the study of ancient iconography approaches images not so much as decorative pieces that reflect the creative expressions of individual artists, though stylistic creativity of this sort is sometimes possible to discern. Rather, the study of ancient iconography approaches images as forms of communication that were intentionally commissioned, often by the king, to publicly disseminate specific messages, be they political or religious. At a more basic level, the study of ancient iconography can also enhance the reader’s understanding of what objects and places would have looked like in the ancient world.
The relationship between ANE iconography and the OT is complex. With few exceptions (cf. Ezek 23:13), the image-text relation is not simply a matter of biblical authors describing a visual image that they had seen. Neither is it a matter of images being created to depict biblical stories or events. Rather, the connection between ANE iconography and the OT is best understood to operate at a conceptual level. Specifically, literary imagery in the OT often reflects motifs and themes that are also present in the iconographic repertoire of the ancient world.
The use of ANE iconography in the study of the OT is most commonly referred to as iconographic exegesis. This method of analysis first surfaced in the early 1970s through the pioneering work of Othmar Keel, at the University of Fribourg, Switzerland, and has since been furthered through the work of loose network of scholars known as the “Fribourg School.” Much of this research has focused on aspects of the canon that are especially rich in literary imagery, such as the Psalms and the Prophets. ANE iconography has also proven to be a valuable primary source in the study of the history of Israelite religion. Of particular interest is the nature and development of ancient Israel’s ban on divine images and the resulting tradition of aniconism—the notion that Yahweh was not to be represented in visual or material form and/or that any divine image was an impermissible idol.
Sidang Ilahi Elohim Dalam Mazmur 82:1
