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The Lachish ewer is a Late Bronze Age Canaanite jug discovered at archaeological excavations at , identified as the site of the important ancient city of , dating from the late 13th century BC. It was discovered by the British Starkey-Tuffnell expedition, which led the first excavation of the Lachish site between 1932 and 1939.


Discovery
The ewer was discovered in 1933 or 1934 in the Fosse Temple III at Level VII,Israel Antiquities Authority, Excavators and Excavations Permit for Year 2014, Survey Permit # A-7073 the earliest archaeological layer at the site corresponding to the Late Bronze Age in the region. Its discovery was documented by James Leslie Starkey, the expedition leader, who recorded it being found in a mound near the eastern wall, with a fragment of its shoulder blackened by fire found on the plastered floor in a collection of sherds, suggesting the ewer had been in use at the time of the temple's destruction.


Description
The Lachish ewer is an example of Late Bronze Age Levantine pottery, featuring a row of depicted animals and trees and an accompanying inscription by the same hand, which Starkey suggested was likely the work of a local potter. On the right main part of the ewer, the best-preserved section, the most complete tree, depicted schematically with three curved lines forming its branches, is flanked by rearing goats or ibexes with bodies formed of adjoining triangles, identified as by Hestrin. Proceeding left from this, clockwise around the ewer, is an animal tentatively identified as a bird, a pair of deer, female and male, leaping (identified by Hestrin as Persian fallow deer), and a lion with an unusual feathery tail. A piece of the ewer is missing at this point and much of the remaining depictions are obliterated, but a small section is preserved near the handle showing portions of another tree flanked by ibexes.

Above and between the images on the ewer is a damaged alphabetic inscription in Proto-Canaanite script, reconstructed by Frank M. Cross as:

mtn⋮ šy ˹l˺rbty ˀlt
מתן⋮ שי ˺ל˹רבתי אלת
Mattan. An offering to my Lady ˀElat.
A gift: a lamb for my Lady ˀElat.

The inscription identifies the ewer as a votive offering to , whose titles included both ˀlt "Elat", the feminine equivalent of El, and rbt "lady".Locatell et al Apud KTU 1.3 I 23 "etc" The conflicting translations provided by Cross variably interpret mtn as either the supplicant's given name Mattan or as a common noun meaning "gift", and šy as either "offering" or "sheep, goat"; later scholarship, including Cross himself, favoured the former translation in both cases. The three vertical dots (⋮) are present in the inscription, and are identified as a word divider used occasionally in Greek and Semitic inscriptions, but all other words preserved on the ewer are separated instead by the depicted images. The word Elat is arranged directly above the best-preserved tree figure on the ewer, implicitly identifying the tree as a representation of the goddess herself.


Interpretation and significance
Upon its discovery, Starkey described the decoration as "not usual" in its free treatment of a register of animals, a simple style bearing vivid depictions of rearing ibexes and deer mid-leap. The symbolism of goats or ibexes flanking a tree has been identified as a common "age-old motif" in ancient Near Eastern iconography, appearing in the Levant from the early 2nd millennium BC onwards and prominently in pottery from other sites such as Ta'anakh and during the Near Eastern Late Bronze Age II A and II B (1400-1200 BC). During this item's era they symbolize the goddess , who is associated most commonly with trees in general. The ewer has been compared with a counterpart, a goblet also found in the Fosse Temple excavations at Lachish, displaying a similar motif with a replacing the tree between ibexes, supporting the notion that both were interchangeable in representing Asherah's aspect as a fertility goddess.

Another notable aspect of the ewer, particularly of interest to the development of ancient Israelite culture, is its notably -like tree as the object of focus and a manifestation of the goddess.

(2025). 9781107422261, Cambridge University Press.
The use of artificial, geometric or stylised sacred trees is a common motif in its own right, attested in and seals from the beginning of the 2nd millennium BC onwards, and non-lifelike trees are associated with Asherah specifically through examples such as the .

The jug is considered as important as A from Kuntillet Ajrud and the Ta'anakh cult stand. It is one of the most common points of reference to discuss the typical characteristics of art of its type and era. called the krater was publicized in 2022.


Gallery of iconographically similar artifacts

File:Gezermenorah.png|Tomb deposits from , including drawing of Menorah-like shape

Marks.png|, potters' trade marks including Menorah-lookalike, by

Gezerseal.png|, (1912), "The Excavation of Gezer", seal impression with horned animal and tree

Palmbowl2.png|Macalister (1912), the "palm and panelled zigzag" pattern on Gezer pottery (Fig. 346, p. 191)

File:Menorah, Mount Karkom, Negev, Israel מנורה, הר כרכום, הנגב - panoramio.jpg|Rock art from in the Negev: menorah-like incised drawing

File:Har-mikhya-mitzpe-lipa-gal-13.jpg| from Mount Mihya in the Negev (Lipa Gal Lookout near ) depicting horned animals, probably

File:NaaranGazels0858.JPG|Caprids at the tree motif at 's zodiac synagogue mosaic


See also


Bibliography
  • Abstract accessible for free; article by subscription.
  • (1983). 9783525536735, Vandenhoeck & Ruprecht.
  • (2025). 9789652210883, Israel Exploration Society.
  • (1988). 9781555402532, Atlanta, Ga. : Scholars Press.


External links
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