Abstract
This book is a translation of Gottes Körper (2010) by Andreas Wagner. In this edition, Wagner deals with three books that appeared around the time of the original publication (pp. xiii–xiv)—E. Hamori (2008), B. Sommer (2009), and B. Porter (2009).
While each culture understands the body differently, Wagner argues that most cultures understand their respective views of the human body and the conception of the body of the deity in similar terms. Consequently, with attention here on the Hebrew Bible, YHWH’s external body is the focus of this study. Wagner discusses ‘material images’ (i.e., stelae, statues, carvings, drawings, etc.) and ‘verbal images.’
Wagner examines the prohibition of imagery relating to YHWH in the Decalogue. In Exodus and Deuteronomy, Israel is not to make a פסל. Wagner interprets פסל as prohibiting cult images or statues of YHWH. The prohibition in the Decalogue does not affect verbal descriptions of YHWH. Texts throughout the Hebrew Bible mention YHWH’s hand, face, eyes, ears, etc. The distribution of the anthropomorphic language for YHWH throughout the entirety of the Hebrew Bible illustrates that it is consistent with monotheism. Previously, scholars have understood anthropomorphic language used to describe YHWH as being primitive and naïve. Wagner argues that it is actually complex and sophisticated.
There are no extant material depictions of YHWH. Since human bodies are conceived similarly to divine bodies, Wagner uses a drawing of a group of worshippers at Kuntillet ‘Ajrud to illustrate how Israel conceived of the body. Then, he compares this Israelite drawing to Egyptian, Phoenician, Syrian, Assyrian, Babylonian, and Persian art. The material depictions of the body remain largely unchanged across the ancient Near East during the composition of the Hebrew Bible. The material images of the ancient Near East are not meant to be a replication of what is seen nor are they individualistic representations (p. 81–83 discussing Song 5:9–16; 7:2–6). The function of the body, not the form or appearance, is the emphasis of ancient Near Eastern art.
Wagner suggests that each external body part is meant to function in one of two ways, either as a means of communication (face, head, nose, eye, ear, mouth, נפשׁ) or action (hand, arm, feet). Therefore, the description of YHWH’s body in the Hebrew Bible is intended to illustrate his willingness to communicate with humans and his action on their behalf. For example, YHWH uses his hand to accomplish creation and bring Israel out of Egypt. YHWH’s hand illustrates his power, protection, and provision. Additionally, though YHWH’s body parts are comparable to human’s, the text reveals that YHWH’s ability is always greater than what humans are capable of doing.
YHWH cannot be depicted by gender (pp. 118, 138, 150–51, 160–62) nor by comparison with animals which is distinct among the deities in the ancient Near East (he is uncertain about the implications of YHWH’s wings [כנף] (see pp. 142 note 56, 167 note 2). Wagner believes that P in Gen 1:26-27 describes humankind being made in YHWH’s image according to the anthropomorphic language that appears in the rest of the Hebrew Bible. Humankind is YHWH’s cult image (צלם). It is similar to YHWH but not identical (דמות). Humans can communicate and act like and for YHWH. Humans are at once below (צלם) and equal (דמות) to YHWH.
Wagner presents an engaging and challenging description of YHWH’s body and why it should be properly understood. His use of material images from the ancient Near East and verbal images from the Hebrew Bible are helpful. The multiple depictions of the art of Egypt, Syria-Palestine, Phoenicia, and Mesopotamia is a highlight of the book. He also mentions possible avenues for future research (p. 144).