The Mysterious Wall Paintings of Teleilat Ghassul, Jordan: In Context
Abstract
This volume is primarily concerned with the re-analysis of the wall paintings from the Jordanian Chalcolithic period (ca. 4700-3700 BC) settlement site of Teleilat Ghassul, first excavated in 1929 by scholars from the Pontifical Biblical Institute Rome and latterly by Australians from the University of Sydney. The seven major paintings were re-analysed using a methodology based on contextualisation, digital reconstruction, experimental replication and subject analysis. A comprehensive theoretical framework was constructed from published and unpublished materials from the site, consisting of geographical and environmental datasets, topographic, settlement-location and structural contexts. These included material/artefactual associations, technological issues and a comprehensive symbolic regional comparative analysis of the artworks themselves. The interpretive structure, reconstructed and re-evaluated scenes, and replication studies, have revealed numerous insights into the artistic traditions and cultic practices of South Levantine Ghassulian Chalcolithic culture, with considerable relevance to the ongoing debate on such matters as prehistoric societal makeup and art historical scholarship. This study has provided intriguing glimpses into the lives of a brilliantly artistic and deeply ritualised society, shedding new light on this little-known and still mysterious people.
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The material culture of the Late Chalcolithic period in the southern Levant (4500-3900/3800 BCE) is qualitatively distinct from previous and subsequent periods.
“The material culture of the Late Chalcolithic period in the southern Levant (4500–3900/3800 BCE) is qualitatively distinct from previous and subsequent periods.”
From Ancient DNA from Chalcolithic Israel reveals the role of population mixture in cultural transformation (2018) · cites this paper as [7]
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Harney, É., May, H., Shalem, D., Rohland, N., Mallick, S., Lazaridis, I., Sarig, R., Stewardson, K., Nordenfelt, S., Patterson, N., et al. (2018) · Nature Communications · doi:10.1038/s41467-018-05649-9 · Cited by 141 · see citing works
Masks and masquerade in the Early Neolithic: a view from Upper Mesopotamia
Dietrich, O., Notroff, J., & Dietrich, L. (2018) · Time and Mind · doi:10.1080/1751696x.2018.1433354 · Cited by 32 · see citing works
“…wall paintings from Teleilat Ghassul to manifold younger and ethnographic examples, masks and the practice of masking have been and still are an integral part of rite and ritual emphasizing ‘otherness’ and veiled lore (e.g. Drabsch 2015; Meller and Maraszek 2010; Pernet 1992; Ulmer Museum 2013).”
BackgroundPrice, M. D., Rowan, Y. M., Kersel, M. M., et al. (2020) · Archaeological and Anthropological Sciences · doi:10.1007/s12520-020-01043-z · Cited by 21 · see citing works
“The archeological record of the Chalcolithic is replete with an abundance of ritual material culture, such as miniature vessels, female figurines, and elaborate wall decorations depicting animals and people (Joffe et al. 2001; Lovell 2010; Drabsch 2015).”
BackgroundGazelles, Liminality, and Chalcolithic Ritual: A Case Study from Marj Rabba, Israel
Price, M. D., Hill, A. “., Rowan, Y. M., et al. (2016) · Bulletin of the American Schools of Oriental Research · doi:10.5615/bullamerschoorie.376.0007 · Cited by 7 · see citing works
Drabsch, B., & Bourke, S. (2019) · Arts · doi:10.3390/arts8030079 · Cited by 7 · see citing works
“While the Ghassulian painted structures are not associated with the numerous adult burials unique to Çatalhöyük, they do have an (perhaps less overt) association with child burials (Lovell 2010, p. 113, Figure 4) which may serve to sanctify, protect and enrich symbolically the associated structures (Yıldırım et al. 20…”
BackgroundInfluentialSelf-citationThe Cornets of Teleilat Ghassul as a Vigil Object
Zuhovitzky, S., Waiman‐Barak, P., & Gadot, Y. (2025) · Tel Aviv · doi:10.1080/03344355.2025.2546274 · Cited by 2 · see citing works
“2021: 3). were discovered (Drabsch 2015: 80).”
Archaic conceptions about procreation: a reinterpretation of the Chalcolithic figurines from Gilat
Amzallag, N. (2016) · Time and Mind · doi:10.1080/1751696x.2016.1207893 · Cited by 2 · see citing works
“Exactly as in the Gilat figurines, the Teleilat Ghassul fresco apparently evokes the interaction of a group bearing horned masks with caprid attributes (male symbolism) and another group with non-horned mask and bird attributes, interpreted as expressing female symbolism (Drabsch 2015, 157, 177).”
BackgroundMethodThe Spiritual and Social Landscape during the Chalcolithic Period
Rowan, Y. M. (2018) · Cambridge University Press eBooks · doi:10.1017/9781316661468.009 · Cited by 2 · see citing works
Jaruf, P. (2018) · Revista del Instituto de Historia Antigua Oriental · doi:10.34096/rihao.n19.5419
- Authors
- Drabsch, B.
- Corresponding author
- Drabsch, Bernadette
- ORCID
- Drabsch, Bernadette
- Venue
- Archaeopress Publishing Ltd eBooks
- Publisher
- Archaeopress Publishing Ltd
- Published
- 2015-08-31
- OpenAlex
- W2981607035
- Cited by
- 9
- References
- 0
- Citations by year
- 2025: 1 · 2020: 1 · 2019: 1 · 2018: 4 · 2016: 2
- FWCI
- 4.69
- Type
- book
- Language
- en
- Open access
- closed
- Locations
- Archaeopress Publishing Ltd eBooks (publishedVersion)
- NOVA (University of Newcastle Australia) (submittedVersion)
- Topics
- Social Sciences › Arts and Humanities › Archeology › Ancient Mediterranean Archaeology and History
- Social Sciences › Archeology › Archaeology and Rock Art Studies
- Social Sciences › Arts and Humanities › Archeology › Archaeological and Geological Studies
- Keywords
- mural painting, Chalcolithic, prehistoric art, contextualization, virtual reconstruction, experimental replication, subject analysis
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