Scripta Biblica et Orientalia, 2015-2016, T. 7-8

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    Pozycja
    Henryka Siemiradzkiego „Chrystus u studni rozmawiający z Samarytanką” (1890). Komentarz archeologiczny
    Śliwa, Joachim (Wydawnictwo KUL, 2016)
    In 1890 Henryk Siemiradzki (1843-1902) painted a picture which now hangs in the Lviv National Art Gallery. In the composition of the scene he followed the account of the Gospel of St. John (John 4, 1-42). The object of my attention is primarily in this case the figure of a Samaritan woman, as the painter, known for his meticulous, nearly archaeological approach to the detail, represented her in a unique way. After what probably must have been an uneasy search, Siemiradzki dressed the model who posed for this scene in a typical Palestinian female costume of the 19th century (most probably coming from Rafidiye). The clay jug standing on the well, which the girl used to draw water, also deserves attention. anks to the fact that the artist rendered some details of its decoration, the vessel can be identified as Palestinian bichrome ware, dated to Late Bronze Age I (1550-1400 BC). The vessel, most likely deliberately chosen, later found its way into Siemiradzki’s collection of ancient pottery. Siemiradzki often portrayed particular element of this collection in much detail in his paintings.
  • Miniatura
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    „…także postać Karmicielki lub Serapisa”
    Lipiński, Edward (Wydawnictwo KUL, 2016)
    The Tosefta tractate Avodah zarah V, 1 enjoins to throw rings with images of the Nursing One or of Sarapis into the Dead Sea, a rabbinic expression meaning that they should be completely destroyed. The Nursing One is no doubt the Egyptian goddess Isis, which is often represented while nursing the child Horus or Harpocrates. Many statues, amulets, scarabs, carved rings represent this scene, which has also been reproduced in non-Egyptian ambient and was imitated in Christian art showing Mary with her child Jesus. The mention of Sarapis leaves no doubt that the Tosefta refers to Isis, often named at that time with Sarapis, the main god of Alexandria. Also Sarapis appears on many scarabs, rings, and Roman coins, and was even worshipped in Jerusalem, certainly in the early 2nd century A.D., as shown by some findings and an inscription. The prohibition of the Tosefta concerned rings or scarabs in particular, because their possession could imply a certain devotion to these heathen deities, while coins with similar images were used just for commercial purposes.