Свет и цвет в библейском богословии

E. Ya. Fedotova

E. Ya. Fedotova St. Andrew’s Biblical Theological Institute https://orcid.org/0009-0004-1126-595X

Keywords: light, colour, Bible, biblical theology, visualisation, traditional cults, metaphor, exegesis

Abstract

Visualisation of verbal languaging, both speech and written texts, goes back to the very dawn of culture and might well be traced back to ancient texts including the Bible. It is well known that fundamental biblical imagery together with related concepts form the basis of European art, culture, and mentality. The very possibility to visualise words draws on the metaphorical dimension of language and enriches our understanding of both speech and texts. Imagery has its place in biblical exegesis; without it our interpretation of biblical narratives and poetry would be incomplete or even inadequate. This article explores some instruments of figurative expression of theological concepts in the Bible, namely, how light and colour in the biblical narrative help to visualise the image of God. Contextual analysis shows that the notion of ‘light’ in the Bible is almost always associated with divinity. Being God’s first creation, light in the Bible becomes an important sign of His immanence in the world. Time and again God’s presence is marked with luminous or fiery objects. The word ̓ôr (‘light’ in Hebrew) is used as an attribute, epithet or even the very name of God. That heavenly bodies were created after the creation of light could be seen as implicit polemics against traditional cults of sun, moon, and planets. Light and Fire demonstrate God’s power in somewhat differing ways. While Fire might relate to divine wrath, the light of God’s face irradiates mercy, salvation, and life. The God-given Law in the Bible is also called “The Light for Israel”, whilst Israel would be “A Light unto the nations” as the Divine Law is translated and taught to other nations. Theophoric Hebrew names including element ̓ôr (light) demonstrate how tight is the bond between God and Light. In fact, light in the Bible represents God in His manifold manifestations; it becomes a distinct sign of God’s special relationship with Israel. Gold and golden colour, being natural substitutes for light, are used in the Bible to indicate God’s presence or mark sacred objects. White colour is also symbolically associated with light, virtue, and sacrality. White colour systematically appears in episodes where God acts in a material way in the interest of His people. In fact, the number of colours used in biblical narrative is quite restricted: white, black, and natural dyestuffs, such as red, blue, and their mixtures. Colours, as a rule, are used to single out an object or designate its place in the sacred environment. Moreover, biblical authors use colour palette to promote monotheistic ideas. Colour-based imagery was helpful to assert seminal theological statements by means of implicit polemics and it served, first and foremost, to replace traditional cults with monotheistic values.

Author Biography

E. Ya. Fedotova, St. Andrew’s Biblical Theological Institute

DOI: https://doi.org/10.34680/vistheo-2023-5-2-151-163

Elena Ya. Fedotova
St. Andrew’s Biblical Theological Institute, Moscow, Russia
elena.fedotova.45@mail.ru
ORCID: https://orcid.org/0009-0004-1126-595X

Abstract
Visualisation of verbal languaging, both speech and written texts, goes back to the very dawn of culture and might well be traced back to ancient texts including the Bible. It is well known that fundamen-
tal biblical imagery together with related concepts form the basis
of European art, culture, and mentality. The very possibility
to visualise words draws on the metaphorical dimension of language and enriches our understanding of both speech and texts. Imagery has its place in biblical exegesis; without it our interpretation
of biblical narratives and poetry would be incomplete or even inadequate. This article explores some instruments of figurative expression of theological concepts in the Bible, namely, how light and colour in the biblical narrative help to visualise the image of God. Contextual analysis shows that the notion of ‘light’
in the Bible is almost always associated with divinity. Being God’s first creation, light in the Bible becomes an important sign of His immanence in the world. Time and again God’s presence is marked with luminous or fiery objects. The word ̓ôr (‘light’ in Hebrew) is used as an attribute, epithet or even the very name of God. That heavenly bodies were created after the creation of light could be seen as implicit polemics against traditional cults of sun, moon, and planets. Light and Fire demonstrate God’s power in somewhat differing ways. While Fire might relate to divine wrath, the light of God’s face irradiates mercy, salvation, and life. The God-given Law
in the Bible is also called “The Light for Israel”, whilst Israel
would be “A Light unto the nations” as the Divine Law is translated and taught to other nations. Theophoric Hebrew names including element ̓ôr (light) demonstrate how tight is the bond between God and Light. In fact, light in the Bible represents God in His manifold manifestations; it becomes a distinct sign of God’s special relationship with Israel. Gold and golden colour, being natural substitutes for light, are used in the Bible to indicate God’s presence or mark sacred objects. White colour is also symbolically associated with light, virtue, and sacrality. White colour systematically appears in episodes where God acts in a material way in the interest
of His people. In fact, the number of colours used in biblical narrative is quite restricted: white, black, and natural dyestuffs,
such as red, blue, and their mixtures. Colours, as a rule, are used to single out an object or designate its place in the sacred environment. Moreover, biblical authors use colour palette
to promote monotheistic ideas. Colour-based imagery was helpful
to assert seminal theological statements by means of implicit polemics and it served, first and foremost, to replace traditional cults with monotheistic values.

Keywords: light, colour, Bible, biblical theology, visualisation, traditional cults, metaphor, exegesis

References

Aalen 1997 – Aalen S. אור (̓ôr). Theological Dictionary of the Old Testament. Vol. 1. Grand Rapids, Michigan, 1997. Pp. 147–167.

Averintsev 2004 – Averintsev S. S. Poetics of the Early Byzantine Literature. St. Petersburg, 2004. In Russian.

BDB 1999 – Brown E., Driver S., Briggs C. The Brown–Driver–Briggs Hebrew and English Lexicon. Peabody (MA), 1999.

Blenkinsopp 1992 – Blenkinsopp J. The Pentateuch: An Introduction to the First Five Books of the Bible. New York, 1992.

Diakonov 2008 – Diakonov I. M. Archaic Myths of the East and West. Moscow, 2008. In Russian.

Eliade 1998 – Eliade M. Le Mythe de l’éternel retour. Transl. into Russian by E. Morozova. St. Petersburg, 1998.

Elliger, Rudolph 1990 – Biblia Hebraica Stuttgartensia. Ed. by K. Elliger, W. Rudolph. Vierte verbesserte Auflage. Stuttgart, 1990.

Fedotova 2009 – Fedotova E. Myth as the Means of Inner Exegesis in the Biblical Narrative. History – Myth – Folklore in Jewish and Slavic Cultural Tradition. Ed. by O. V. Belova. Moscow, 2009. Pp. 54–69.
In Russian.

Fedotova 2010 – Fedotova E. The Blessing of Jacob (Gn 49) and the Blessing of Moses (D 33): A Structuralist Approach. Proceedings of the Seventeenth Annual International Conference on Jewish Studies. Vol. 1. Ed. by V. V. Mochalova. Moscow, 2010. Pp. 48–72. In Russian.

Fedotova 2019 – Fedotova E. Ya. The Holy Mountain and Sacred Stone in the Biblical Religious Concepts: Their Relationship and Opposition. The Hierotopy of Holy Mountains in Christian Culture. Ed. by A. Lidov. Moscow, 2019. Pp. 54–73. In Russian.

Gordon 1965 – Gordon G. H. Ugaritic Textbook. Rome, 1965.

Hawking 1990 – Hawking S. W. A Brief History of Time.
New York, London, 1990.

Hertz 2001 – The Pentateuch and Haftorahs. Transl. into Russian.
Ed. by Dr. J. H. Hertz. Moscow, Jerusalem, 2001.

Jakobson 1971 – Jakobson R. Selected Writings. Vol. 2.
Word and Language. The Hague, Paris, 1971.

Kulik 2006 – TANACH. Early Prophets. Transl. into Russian.
Ed. by A. Kulik. Moscow, 2006.

Matsich 2010 – Rabbinic Biblical Commentary. Genesis.
Transl. into Russian. Ed. by L. A. Matsich. Moscow, 2010.

McKnight 1988 – McKnight E. V. Post-Modern Use of the Bible.
The Emergence of Reader-Oriented Criticism. Nashville, 1988.

Ricoeur, Gadamer 2019 – Ricoeur P., Gadamer H.-G. Phenomenology of Poetry. Transl. into Russian. Moscow, 2019.

Salamon 1968 – Salamon L. S. On the physiology of emotional
and physiological processes. Cooperation of Sciences and Mystery
of Creative Work. Ed. by B. S. Meilakh. Moscow, 1968. Pp. 286–326.
In Russian.

Scharbert 1988 – Scharbert J. ברכ (brh). Theological Dictionary of
the Old Testament. Vol. 2. Grand Rapids, Michigan. 1988. Pp. 279–308.

Sherkova 2018 – Sherkova T. A. Model of the World
in the Ancient Egypt. Moscow, 2018. In Russian.

Simsky 2013 – Simsky A. The Image-Paradigms of the Fire of God in the Bible and in the Christian Tradition. Hierotopy of Light and Fire in the Culture of the Byzantine World. Ed. by A. Lidov. Moscow, 2013. Pp. 45–81. In Russian.

Simsky 2021 – Simsky A. Why God was an Iconoclast? The Visual and the Pictorial in Biblical Hierotopy. Journal of Visual Theology. 2021.
1 (4). Pp. 11–40.

Tantlevskij 2002 – Tantlevskij I. R. The Books of Enoch.
Sefer Yetzirah – The Book of Creation. Moscow, Jerusalem, 2002.
In Russian.

Tantlevskij 2013 – TANACH. Latter Prophets. Transl. into Russian by I. Tantlevskij. Moscow, 2013.

Tkacz 2002 – Tkacz C. B. The Key to the Brescia Casket.
Typology and the Early Christian Imagination. Paris, 2002.

About author

Elena Ya. Fedotova
Cand. Sci. (Physical and Mathematical Sciences), Lecturer
St. Andrew’s Biblical Theological Institute
3, Ierusalimskaya ul., Moscow, 109316, Russian Federation
e-mail: elena.fedotova.45@mail.ru

For citation:
Fedotova E. Ya. Light and colour in biblical theology.
Journal of Visual Theology. 2023. Vol. 5. 2. Pp. 151–163. https://doi.org/10.34680/vistheo-2023-5-2-151-163

Light and Colour in Biblical Theology

Abstract

Author Biography