Damien
F. Mackey
The Mari palace of Zimri-Lim, biblical “Rezon” and some time foe of King
Solomon,
If Hammurabi were, as the biblical artisan,
Huram-abi, involved in the technical enhancement of Solomon’s architecture,
then we might expect that the contemporary palace of Mari, belonging to
Zimri-Lim (see my):
Hammurabi and Zimri-Lim as
Contemporaries of Solomon
would exhibit some degree of Solomonic
influence. Accordingly, one will read at: http://publications.mi.byu.edu/publications/studies/4/S00001-507d876e576a3Bradshaw.pdf
A number of scholars have
found parallels in the layout of the trees in the Garden of Eden and certain
features of Israelite sanctuaries.75 Significantly,
the holiest places within the temples of Solomon and of Ezekiel’s vision were
decorated with palms.76 Indeed, the holy of holies
in Solomon’s temple contained not only one but many palm trees and pillars,
which Terje Stordalen says can represent “a kind of stylised forest.” 77 The angels on its walls may have represented God’s heavenly council,78 mirrored on earth by those who have attained “angelic”
status through the rites of investiture. Such an interpretation recalls the
statues of gods mingling with divinized kings in the innermost sanctuary of the
Mari palace.79
On
the mountain of Yahweh, Mt. Zion, a the indissoluble triad of creation, kingship
and Temple find their most profound visual and literary expression. Nowhere in
ancient Near Eastern art is this triad more brilliantly illustrated than in the
wall paintings of the Old Babylonian palace at Mari, built almost a millennium
before [sic] Solomon’s palace and Temple in Jerusalem. In the palace at Mari,
located on the banks of the Euphrates, in modern Syria, a large, sunlit
courtyard decorated with wall paintings led into a vestibule in front of the king’s
throne room. The courtyard enclosed a garden of live potted palm trees.
According to one scholar, a tall, ornamental but artificial palm tree stood in
the middle of the garden (compare the location of the tree of life in the
Garden of Eden). This artificial tree had a wooden core and was plated with
bronze and silver leaf.4 At eye level, just to the right of the doorway leading
from the courtyard to the vestibule of the throne room, a large wall painting
portrayed the relationship of divinity, royalty and creation. Luxuriant
orchards and fantastic creatures surround the building in which the investiture
of the king is taking place. In the upper register of the central panel, the
goddess Ishtar as warrior, with weapons strapped to her shoulders, scimitar in
one hand and “the ring and the rod” in the other, presents the emblems of
authority to the king. Ishtar rests one foot on a recumbent lion, her emblem.
Three other deities witness the ceremony. In the register below, two lesser
goddesses hold vases from which four streams of water flow and vegetation
sprouts. The setting for the ceremony is a paradise garden with date palms and
stylized papyrus stalks. Guarding the garden and the palace are winged
sphinxes, griffins and bulls. At the outer edges of the scene, two goddesses of
high rank stand with upraised arms—a gesture of protection for all within the
garden precincts.
[End of quotes]
I
would suggest that the above would be only the tip of the iceberg of potential
similarities between the religious imagery of the Mari era (revised) and that
of the Solomonic era.
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