Exhibit M: Santorini Wall Paintings. Jacobovici claims that the Miniature Frieze found in the West House in the excavations at Akrotiri on the island of Santorini (ancient Thera) depicts a Minoan voyage to Avaris, Egypt. Although this interpretation is undoubtedly wrong,[3] there is ample evidence to indicate that there was contact between the Minoans and Egypt. From this interchange, he contends that some of the followers of Moses in Egypt were Aegeans from Greece and that they returned to Greece shortly after the Exodus. It is necessary to make this connection in order bring in artifacts from Greece that supposedly relate to the Exodus (Exhibit N and Final Exhibit below). Needless to say, there is no evidence to suggest that there were Aegeans enslaved in Egypt when the Israelites were there. Egyptian texts only speak of Asiatic slaves at that time (David 1986: 188–92; Redford 1992: 78–79, 208–209, 221–27).
Exhibit N: Grave Stelae of Mycenae. Since there is no evidence that there were Greeks among the Israelite tribes that left Egypt, there is no basis for interpreting the images on grave stelae at Mycenae as scenes of the sea crossing as claimed by Jacobovici.
Grave stela from Shaft Grave V in Grave Circle A at Mycenae, ca. 1550–1500 BC, National Archaeological Museum of Athens. Jacobovici interprets the scene as “an Egyptian charioteer chasing Moses across the parted sea” just before the waters returned. The spirals, which Jacobovici says are waves, are a common Mycenaean motif. (Credit: University of Oklahoma)
Exhibit O: Mt. Sinai (Hashem el-Tarif). Jacobovici’s methodology in attempting to locate Mt. Sinai is admirable in that he utilizes Biblical data. Unfortunately, some of his information is incorrect. He bases the location on the distances the Israelites could travel within the Biblical timeframe. He begins by saying it took the Israelites 14 days to travel from Elim to Mt. Sinai. Elim, he suggests, is located at Ayun Musa on the northeast shore of the Gulf of Suez, which is no doubt correct, but his timeline is off. According to Exodus 16:1, after the Israelites left Elim, they “came to the Desert of Sin, which is between Elim and Sinai, on the 15th day of the second month after they had come out of Egypt.” They then arrived at the Desert of Sinai a month later (Ex 19:1; Nu 33:3). So, the travel time from Elim to the Desert of Sinai was more than 30 days, not 14 days. The daily rate of travel Jacobovici assumes, 15 km (9 mi) is also incorrect. Pastoralists traveling with their flocks can go no more than 10 km (6 mi) per day (Wood 2000). In addition, one cannot simply multiply a rate of travel times the number of days traveled and draw a straight line on a map to locate Mt. Sinai. The ancient routes and the zigs and zags and ups and downs of traveling by foot in a rugged terrain must be taken into account. Although Hashem el-Tarif may be a valid candidate for Mt. Sinai, one cannot arrive at that identification using Jacobovici’s calculations.
Final Exhibit: The Ark of the Covenant. The final exhibit of the presentation is a small gold object from the Bronze Age cemetery at Mycenae. J. claims it represents a composite view of the Ark of the Covenant, ramp of the Tabernacle and altar as seen from the Holy of Holies. Why would the Ark be depicted on an object found in Greece? Jacobovici conjectures that Greeks referred to as Danoi by Homer are Danites who migrated to Greece after the Exodus. Since the Tribe of Dan helped make the Ark it was the Biblical Danites who fashioned the gold object.
There are a number of difficulties with this scenario. First, the Tribe of Dan did not help make the Ark. According to Exodus, Bezalel, a Judahite, was the chief craftsman for the Tabernacle appointed “to make artistic designs for work in gold, silver and bronze, to cut and set stones, to work in wood and to engage in all kinds of artistic craftsmanship” (Ex 31:4). It was he who made the Ark (Ex 37:1). A Danite named Oholiab was appointed to help Bezalel (Ex 31:6), but his specialty was embroidery (Ex 38:23) and he was involved in “constructing the sanctuary” (Ex 36:1). Moreover, the Danoi were native Greeks, not immigrants. According to Greek tradition, a legendary figure named Danaus immigrated to Greece from Egypt. He became a ruler and required the native Greeks to be called Danoi (Stabo, Geography 8.6.9). In addition, the two figures depicted on the so-called “ark” are ordinary birds, not cherubim[4] as on the Biblical Ark (Ex 37:6–9).
Conclusion
The Exodus Decoded is similar to The Da Vinci Code in that disparate pieces of information from the past are brought together in a story line. There is a big difference between the two, however. The Exodus Decoded is presented as factual history, whereas The Da Vinci Code is advertised as a novel. The exhibits of The Exodus Decoded do not stand up to scrutiny in the court of objective scholarship. Archaeological data are wrenched from their chronological contexts and forced into a different time frame to fit the filmmaker’s reconstruction. What is more, the film is replete with factual errors. Although the production is offered as a serious and accurate documentary, it is not accurate and it cannot be taken seriously. There is little of substance in The Exodus Decoded for those seeking valid historical and archaeological information on the Exodus.
Footnotes
[1] Egyptian dates in this article are from the Egyptian King List in Redford 2001.
[2] For a summary of the issue, see Balter 2006.
[3] The Miniature Frieze probably depicts a cultic procession taking place in the Aegean. See Wachsmann 1998: 105–22.
[4] Although it is not known exactly what cherubim looked like, it was a composite beast, no doubt similar to composite beasts depicted in Ancient Near Eastern art (Harrison 1979).
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