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[proletar] Chr. Heger: A Note on the "Huris"

hadjar_wish
Tue, 08 May 2007 03:32:38 -0700

A Note on the "Huris"

The – in times of worldwide actions of an Islamic
terrorism for
obvious reasons – most famous example of a new
understanding of
Koranic passages in Christoph Luxenberg, Die
syro-aramäische Lesart
des Koran. Ein Beitrag zur Entschlüsselung der
Koransprache [The
Syro-Aramaic Reading of the Koran. A Contribution to
Decyphering the
Language of the Koran], Berlin 12000 and 22004,
concerns the "Huris",
those ever-virgin playmates who shall be given to the
Islamic warriors
in Paradise. With Luxenberg they become – again
– the "white,
jewel-like grapes", we know as fruit of the Paradise
from Ephrem
Syrus' poem "The Paradise (De Paradiso)".

Dr. Andrea Barbara Schmidt, professor of Syriac
literature at
Université Catholique de Louvain, Louvain-la-Neuve,
Belgium, pointed
me to the following interesting detail:

The metaphor of refreshing the dead souls in the
celestial realm by
the old-testament fathers is well-known in the
Christian-eastern and
Byzantine literature. Numerous places giving evidence
for it can be
found with Ephrem Syrus, the famous poet and
ecclesiastical writer in
the Syriac, i.e. the Christian-Aramaic language. But
most important of
all is a picture that appears in the oldest
transmitted Christian
prayer for the dead of the 3rd century, which was
delivered by the
Copts, the Syriacs, Armenians and Greeks. Here they
prayed for the
admission of the souls in the celestial realm and
their refreshing,
calming and renewal in the eternal life.

A fascinating transformation of this idea into the
iconography is
shown in a Syrian mural picture, in 1998 uncovered by
Dr. Karel
Innemée, Leiden, The Netherlands, in the Syrian
monastery Deir
al-Suryan in the Wadi Natrun in Egypt. Here the three
Patriarchs
Abraham, Isaak and Jacob are shown holding in their
lap the souls of
men, which they nourish with white grapes (!).

Here exists a quite concrete connection between
philology and the
picturesque views of the Paradise in late antiquity
times, as they now
have been established by Christoph Luxenberg also for
the Koran. Deir
al-Suryan, too, lies in the desert, and cooled grapes
must have been
considered as the highest of celestial pleasures.

For further information I refer to K. Innemée, P.
Grossmann, K.D.
Jenner, L. van Rompay, New Discoveries in the al-`Adra
Church of Dair
al-Suryan in the Wadi Natrun, in: Mitteilungen zur
christlichen
Archäologie 4 (1998), p. 79-103.

With regard to the dating of the wall paintings in the
Deir al-Suryan
monastery Innemée, Grossmann, Jenner and van Rompay
cautiously assumed
a rather late date:

"The theme of the three patriarchs enthroned in
paradise occurs in
iconography only since the 9th/10th century [foot-note
omitted] and
this is the first example in Coptic wall-painting
known so far. An
exact dating for the painting is hard to give, but
since it is
partially covered by a painting supposed to be from
the 13th century
and considering its style it might be dated to the
11th century."

In a personal communication or March 10th, 2005,
however Dr. Innemée
kindly shared with me the insights he has conceived in
the meantime:

"As you know, dating is one of the most tricky and
sensitive problems
in art historical research. Especially in the case of
Deir al-Surian
it was an important part of the research, that started
with the
controversy about the dating of the Annunciation,
discovered in 1991.
As for now, we have several layers of plaster on which
paintings have
been made, ranging from the 7th to the 13th century.
The layer on
which the three patriarchs in Paradise have been
painted dates back to
7th century. Since around the year 700 AD several
paintings have been
made on this layer. The earliest paintings were made
in the eastern
part of the church and gradually the decoration was
continued in the
nave (west). The painting of the patriarchs is on the
southern wall of
the nave, between two – now blocked –
windows. These windows were
blocked most probably in the 9th century, when the
monastery was
surrounded by a defensive wall, which was constructed
directly against
the southern wall of the church. Since the painting
has been done
carefully between the window frames, this suggests
that the windows
were not yet blocked when the painting was made. On
the other hand,
the paintings overlap a Syriac inscription, that
according to Luk van
Rompay dates back to around 800 AD. This, for the time
being, is a
reason for me to date the painting to the 9th
century."

Die Patriarchen Abraham, Isaak und Jakob füttern die
Seligen im
Paradies mit weißen Weintrauben.
Wandbild im Syrerkloster Deir al-Suryan im Wadi Natrun
in Ägypten

The Patriarchs Abraham, Isaak and Jacob nourish the
blessed ones in
Paradise with white grapes.
Mural picture in the Syrian monastery Deir al-Suryan
in the Wadi
Natrun in Egypt

(Foto/courtesy Andrea Barbara Schmidt,
Louvain-la-Neuve, Belgien/Belgium)

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