The Nephilim (plural) are the offspring of the "sons of God" and the "daughters of men" in Genesis 6:4, and/or giants who inhabit Canaan in Numbers 13:33. A similar word with different vowel-sounds is used in Ezekiel 32:27 to refer to dead Philistine warriors.

''Nephilim'' in the Hebrew Bible

''(Translations according to New International Version. Note that translations frequently differ. In the King James Version of the Bible, "Nephilim" is translated as "giants" in the following examples.)''

The term "Nephilim" occurs just twice in the Hebrew Bible, both in the Torah. The first is Genesis 6:1-4, immediately before the Noah's ark story: :1. When men began to increase in number on the earth and daughters were born to them, :2. The sons of God saw that the daughters of men were beautiful, and they married any of them they chose. :3. Then the LORD said, "My Spirit will not contend with man forever, for he is mortal; his days will be a hundred and twenty years." :4. The Nephilim were on the earth in those days—and also afterward—when the sons of God went to the daughters of men and had children by them. They were the heroes of old, men of renown.

The second is Numbers 13:32-33, where the Hebrew spies report that they have seen fearsome giants in Canaan: :32. And they spread among the Israelites a bad report about the land they had explored. They said, "The land we explored devours those living in it. All the people we saw there are of great size. :33. We saw the Nephilim there (the descendants of Anak come from the Nephilim). We seemed like grasshoppers in our own eyes, and we looked the same to them."

Etymology

:''This subject also relates to the etymology and meaning of the phrase "sons of God as well as the fallen ones.''

"Nephilim" (נְפִילִים) probably derives from the Hebrew root ''npl'' (נָפַל), "to fall" which also includes "to cause to fall" and "to kill, to ruin". The Brown-Driver-Briggs Lexicon gives the meaning as "giants" Robert Baker Girdlestone argued the word comes from the Hiphil causative stem. Adam Clarke took it as passive, "fallen", "apostates". Ronald Hendel states that it is a passive form "ones who have fallen", equivalent grammatically to ''paqid'' "one who is appointed" (i.e. overseer), ''asir'', "one who is bound", (i.e. prisoner) etc.

Meaning

Genesis 6:4 describes the nephilim as "ancient warriors, the men of renown", and in Numbers 13:32-33 they are a race of giants native to Canaan. Both ideas are supported elsewhere in the Hebrew bible.

Ezekiel's "mighty fallen": nephilim as ancient warriors

Ezekiel 32:27 speaks of "the fallen mighty (''gibborim nophelim'', גִּבֹּורִים נֹפְלִים) of the uncircumcised, which are gone down (''yaradu'', יָרְדֽוּ) to the grave with their weapons of war"; a change to the vowels would produce the reading ''gibborim nephilim''.

Numbers and Amos: Nephilim as giants

In Amos 2:9, while not using the word "nephilim", Yahweh reminds the prophet that he "destroyed the Amorites before you, whose height was as the height of cedar trees". Genesis 6:4 says "the nephilim were on the earth in those days (before the Flood), and also after", and most later compositions and translations, including the Septuagint, therefore understand the nephilim to be giants.

Ambiguity in Genesis 6:4

The nature of the nephilim is complicated by the ambiguity of Genesis 6:4, "the sons of God joined with the daughters of humankind, who bore them children - they were the ancient warriors, the men of renown", which leaves it unclear whether they are the "sons of God" or their offspring who are the "ancient warriors". Richard Hess in ''The Anchor Bible Dictionary'' takes it as read that the nephilim are the offspring, as does P. W. Coxon in ''Dictionary of deities and demons in the Bible''

Arguments from culture and mythology

In Aramaic culture, the later term ''niyphelah'' refers to the Constellation of Orion, and thus ''nephilim'' to the offspring of Orion in mythology. However Brown-Driver-Briggs Lexicon notes this as a "dubious etymology"and "all very precarious".

J. C. Greenfield mentions that "it has been proposed that the tale of the Nephilim, alluded to in Genesis 6 is based on some of the negative aspects of the apkallu tradition". The apkallu (sages) were seven in number, legendary culture-heroes from before the Flood, of human descent, but possessing extraordinary wisdom from the gods, and one of the seven apkallu, Adapa, was therefore called "son of Ea", despite his human origin. The tradition of the Seven Sages became widespread in the 2nd and 1st millennia. However the seven apkallu do not fall, nor have offspring, and are not sons of the fallen.

Genesis 6 - two interpretations

There are effectively two views regarding the identity of the Nephilim, which follow on from alternative views about the identity of the sons of God: Offspring of Seth — The Qumran (Dead sea) scroll fragment 4Q417 (''4QInstruction'') contains the earliest known reference to the phrase "children of Seth", stating that God has condemned them for their rebellion. (Nonetheless, a few commentators dispute the interpretation of this reference.) Other early references to the offspring of Seth rebelling from God and mingling with the daughters of Cain, are found in rabbi Shimon bar Yochai, Augustine of Hippo, Julius Africanus, and the Letters attributed to St. Clement. It is also the view expressed in the modern canonical Amharic Ethiopian Orthodox Bible.

Offspring of angels — A number of early sources refer to the "sons of heaven" as "Angels". The earliest such references seem to be in the Dead Sea scrolls, the Greek, and Aramaic Enochic literature, and in certain Ge'ez manuscripts of 1 Enoch (mss A-Q) and Jubilees used by western scholars in modern editions of the Old Testament Pseudepigrapha. However, "Angels" in this context has sometimes been considered to be a sarcastic epithet for the offspring of Seth who rebelled (see above). The earliest statement in a secondary commentary explicitly interpreting this to mean that angelic beings mated with humans, can be traced to the rabbinical ''Targum Pseudo-Jonathan'', and it has since become especially commonplace in modern-day Christian commentaries.

Others do not take either view, and believe that they are not historical figures but are ancient imagery with questionable meaning.

The fallen angels interpretation

The New American Bible commentary draws a parallel to the Epistle of Jude and the statements set forth in Genesis, suggesting that the Epistle refers implicitly to the paternity of Nephilim as heavenly beings who came to earth and had sexual intercourse with women. The footnotes of the Jerusalem Bible suggest that the Biblical author intended the Nephilim to be an "anecdote of a superhuman race". Genesis 6:4 implies that the Nephilim have inhabited the earth in at least two different time periods—in antediluvian times "and afterward." If the Nephilim were supernatural beings themselves, or at least the progeny of supernatural beings, it is possible that the "giants of Canaan" in Book of Numbers 13:33 were the direct descendants of the antediluvian Nephilim, or were fathered by the same supernatural parents.

Some Christian commentators have argued against this view, citing Jesus' statement that angels do not marry. Others believe that Jesus was only referring to angels ''in heaven''.

In Second Temple Judaism

The story of the Nephilim is chronicled more fully in the Book of Enoch. The Greek, Aramaic, and main Ge'ez manuscripts of 1 Enoch and Jubilees obtained in the 19th century and held in the British Museum and Vatican Library, connect the origin of the Nephilim with the fallen angels, and in particular with the egrḗgoroi (''watchers''). Samyaza, an angel of high rank, is described as leading a rebel sect of angels in a descent to earth to have sexual intercourse with human females:

According to these texts, the fallen angels who begat the Nephilim were cast into Tartarus (Greek Enoch 20:2), a place of 'total darkness'. However, Jubilees also states that God granted ten percent of the disembodied spirits of the Nephilim to remain after the flood, as demons, to try to lead the human race astray (through idolatry, the occult, etc.) until the final Judgment.

In addition to ''Enoch'', the ''Book of Jubilees'' (7:21–25) also states that ridding the Earth of these Nephilim was one of God's purposes for flooding the Earth in Noah's time. These works describe the Nephilim as being evil giants.

Targum Pseudo-Jonathan identifies the Nephilim as Shemihaza and the angels in the name list from 1 Enoch. b Yoma 67, PRE22 and 1 QapGen ar ii 1 also identify the Nephilim as the angels that fell.

There are also allusions to these descendants in the Catholic deuterocanonical books of ''Judith'' 16:8, ''Sirach'' 16:8, ''Baruch'' 3:26–28, and ''Wisdom of Solomon'' 14:6, and in the non-deuterocanonical ''3 Maccabees'' 2:4.

In the New Testament Epistle of Jude 14-15 cites from 1 Enoch 1:9, which many scholars believe is based on Deuteronomy 33:2. To most commentators this confirms that the author of Jude regarded the Enochic interpretations of Genesis 6 as correct, however others have questioned this.

Grey Aliens and Extraterrestrials

Some Christians, such as Chuck Missler, believe that the "sons of God" in Genesis 6:2 are actually Extraterrestrials or Grey Aliens, and that these beings are actually fallen angels or demons that have appeared during the antediluvian times in order to genetically alter the human race, and to pollute the bloodline of Jesus. Thus, the Nephilim would be the hybrid race of these beings in this view.

The descendants of Seth and Cain interpretation

Despite the apparent prevalence of Enochic interpretations such as 1 Enoch, Jubilees, Philo, in Second Temple Judaism, and at Qumran (e.g. ''Ogias the Giant''), orthodox Judaism has always taken a consistent line against the idea that Genesis 6 refers to angels or that angels could intermarry with men. Shimon bar Yochai pronounced a curse on anyone teaching this idea. Rashi and Nachmanides followed this. Pseudo-Philo, ''Biblical Antiquities'' 3:1-3 may also imply that the "sons of God" were human. Consequently, most Jewish commentaries and translations describe the Nephilim as being from the offspring of "sons of nobles", rather than from "sons of God" or "sons of angels". This is also the rendering suggested in the Targum Onqelos, Symmachus and the Samaritan Targum which read "sons of the rulers", where Targum Neophyti reads "sons of the judges".

Likewise, a long-held view among some Christians is that the "sons of God" who fathered the Nephilim spoken of in the text, were in fact the formerly righteous descendants of Seth who rebelled, while the "daughters of men" were the unrighteous descendants of Cain, and the Nephilim the offspring of their union. This view dates to at least the 3rd century AD, with references throughout the Clementine literature, as well as in Sextus Julius Africanus, Ephrem the Syrian and others (see below, "In other texts"). Holders of this view have looked for support in Jesus' statement that "in the days before the flood ''they'' (humans) were ''marrying and giving in marriage''"

Some individuals and groups, including St. Augustine, John Chrysostom, and John Calvin, take the view of Genesis 6:2 that the "Angels" who fathered the Nephilim referred to certain human males from the lineage of Seth, who were called ''sons of God'' probably in reference to their being formerly in a covenantal relationship with Yahweh (cf. Deuteronomy 14:1; 32:5); according to these sources, these men had begun to pursue bodily interests, and so took wives of ''the daughters of men'', e.g., those who were descended from Cain or from any people who did not worship God.

This also is the view of the Ethiopian Orthodox Church, supported by their own Ge'ez manuscripts and Amharic translation of the Haile Selassie Bible - where the canonical books of ''1 Enoch'' and ''Jubilees'' differ from western academic editions. The "Sons of Seth view" is also the view presented in a few extra-Biblical, yet ancient works, including Clementine literature, the 3rd century ''Cave of Treasures'', and the ca. 6th Century Ge'ez work ''The Conflict of Adam and Eve with Satan''. In these sources, these offspring of Seth were said to have disobeyed God, by breeding with the Cainites and producing wicked children "who were all unlike", thus angering God into bringing about the Deluge, as in the ''Conflict'':

Related terms

In the Hebrew Bible, there are a number of other words that, like "Nephilim", are sometimes translated as "giants":

Emim — the fearful ones

Rephaim — the dead ones

Anakim — the [long]-necked ones

Anakim (or Anakites) are the descendants of Anak, and dwelt in the south of Canaan, in the neighbourhood of Hebron. In the days of Abraham, they inhabited the region later known as Edom and Moab, east of the Jordan river. They are mentioned during the report of the spies about the inhabitants of the land of Canaan. The Book of Joshua states that Joshua finally expelled them from the land, excepting a remnant that found a refuge in the cities of Gaza, Gath, and Ashdod. The Philistine giant Goliath, whom David later encountered, was supposedly a descendant of the Anakim.

Nephilim in popular culture

In the film ''The Devil's Tomb'', Nephilim are portrayed as corrupted, fallen angels.

The Nephilim figure prominently in the Madeleine L'Engle novel ''Many Waters'', primarily in an antagonistic role.

The Nephilim are featured in the Mortal Instruments and Infernal Devices book series by Cassandra Clare as the offspring of angels and humans also known as "shadowhunters".

Episode 17 of the 5th season the television series The X-Files, entitled "All Souls", featured a plot involving Nephilim.

Author Richard Kadrey's "Sandman Slim" series feature a main character by the name of Stark (aka Sandman Slim) who discovers his magic and healing ability are the result of being a Nephilim.

In the video game ''El Shaddai: Ascension of the Metatron'', the Nephilim are depicted as semi-humanoid, blob-like creatures that enjoy frolicking through the Tower of Babel. This belies their true nature, as the Nephilim are slowly consuming one another, growing more monstrous and threatening to consume the world. Enoch, the main character, must return the creatures to oblivion by purifying the souls of the Fallen Angels that parented them.

Fields of the Nephilim are a semi active goth rock band formed in 1984.

Author Zecharia Sitchin wrote that that Nephilim were ancient astronauts from the planet Nibiru.

In the novel Angelology by Danielle Trussoni, Nephilim appear as the antagonists to a group of Angelologists, people who study angels, and the battle between the two groups to gain control of a powerful, sacred object.

In the debut novel of author Jason Jowett ''Versistasis'', the Nephalim are time-travelling individuals, integral members of a collective, engaging on alien planets, in possession of host consciousnesses and breeding with the population.

See also

Ancient astronauts

Angelology (novel)

Cambion

The Cain Tradition

Demigod

Edomites

Giant (mythology)

Grigori or egrḗgoroi (ἐγρήγοροι)

Kenites

''Nephilim'' (film)

Serpent seed

Sons of God

The Mortal Instruments (series)

The Infernal Devices

Hush Hush and Crescendo by Becca Fitzpatrick

References

External links

Jewish Encyclopedia: Fall of Angels

Catholic Encyclopedia: Angels

Category:Article Feedback Pilot Category:Demons in Christianity Category:Torah people Category:Giants Category:Book of Genesis

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name	Patrick Heron
birth date	January 30, 1920
birth place	Headingley, Leeds
death date	March 20, 1999
death place	Zennor, Cornwall
nationality	English
field	Painting
awards	}}

Patrick Heron (30 January 1920 – 20 March 1999), was an English painter, writer and designer, based in St. Ives, Cornwall.

Early life

Born at Headingley, Leeds in Yorkshire in 1920, he was the son of Thomas Milner Heron and Eulalie 'Jack' Heron (née Davies), the first of four children (Michael, Joanna and Giles). His father was a clothes manufacturer, pacifist, socialist and leading member of the Leeds Arts Club. In 1925 the Heron family moved to West Cornwall where T M Heron took over the running of Crysede and four years later the family moved to Welwyn Garden City where Tom founded the firm Cresta Silks . It was here at his new school that Patrick Heron met his future wife Delia Reiss, daughter of Celia and Dick Reiss (R.L.Reiss, co-founder of Welwyn Garden City ).

Becoming a painter

He attended St. George's School in Harpenden and on a school visit to the National Gallery, London in 1933 saw paintings by Paul Cézanne for the first time. He immediately began to paint in a Cézanne-influenced style. Shortly after this he was asked to make designs for Cresta Silks and continued to design for Cresta until 1951. When he was 17 he attended The Slade School of Art for two days a week, returning to the West Country to draw the landscape. In World War II he registered as a conscientious objector and worked as an agricultural labourer for three years, then at the Leach Pottery at St Ives between 1944-5, where he met Ben Nicholson, Barbara Hepworth and many other leading artists of the St Ives School. He had just seen Matisse's ''The Red Studio'', exhibited at the Redfern Gallery, London and soon after this completed what he later considered to be his first mature work, ''The Piano'' in 1943.

Early influences

The George Braque exhibition at the Tate Gallery in 1946 deeply impressed him and he wrote an essay on Braque for ''The New English Weekly''. Then up to 1953 he spent time in Europe visiting Paris, Provence and Italy. Heron visited Braque in his Paris studio and presented him with the ''New English Weekly'' article. His first one-man exhibition was at the Redfern Gallery in London in 1947. In 1953 he organised, wrote the catalogue and exhibited in ''Space in Colour'', an exhibition of ten contemporary artists, at Hanover Gallery, London. Following this he exhibited twelve paintings at the Il Bienal di São Paulo, Brazil. The same year he began teaching at Central School of Arts and Crafts in London and continued there until 1956. In 1956 he saw, and praised highly the American Abstract Expressionists who showed their work for the first time in England at the Tate Gallery. He was inspired by this group of eight painters, their confidence and the large scale and flatness.

A development towards abstraction had been evident in his paintings, for example, ''Square Leaves (1952)'' and ''Winter Harbour (1955)'' The effect on Heron of the New York painters, together with his move to live at Eagles Nest, overlooking the cliffs at Zennor, that year was a pivotal point in the transformation into his now characteristic language of interlinking forms; his balancing of colour and space. Heron's deepest influences were Braque, Matisse and Bonnard and he was connected first of all to the pure abstraction of European lineage; Naum Gabo, Pierre Soulages.

"Heron used that most rare and uncanny of gifts: the ability to invent an imagery that was unmistakenly his own, and yet which connects immediately with the natural world as we perceive it, and transforms our vision of it. Like those of his acknowledged masters, Braque, Matisse and Bonnard, his paintings are at once evocations and celebrations of the visible, discoveries of what he called 'the reality of the eye' "

Heron's writing on art and art education

Patrick Heron's writing about art began when in 1945 he was invited by Philip Mairet, editor of ''The New English Weekly'' to contribute to the journal. His first published article was on Ben Nicholson, followed by essays on Picasso, Klee, Cézanne and Braque. Two years later he became art critic of the New Statesman until 1950. He became London correspondent to ''Arts Digest, New York'',(later renamed ''Arts(NY)''). 'The Changing Forms of Art', a selection of his criticism was published in 1955. A further selection of writings , edited by mel Gooding, was published in 1998 to coincide with his Tate Gallery retrospective exhibition

In 1966, 1968 and 1970 he published a series of articles in Studio International questioning the perceived ascendancy of American artists. His final essay on the subject was in a closely worded article of some 14,000 words published over a period of three days in The Guardian in October 1974.

He defended the independence and autonomy of the English Art Schools, resisting their integration into the polytechnic system. The publication of his article 'Murder of the art schools' in The Guardian in 1971 precipitated an enormous correspondence over a period of six weeks.The article was reprinted in 'Patrick Heron on Art and Education' was published by Bretton Hall Wakefield to coincide with presentation of Honorary Fellowship of Bretton Hall, University of Leeds and a one man show of gouaches.

Public Works and collaborations

Patrick Heron made several Public Works, in 1992 he designed the coloured glass window for Tate St.Ives and in 1996 a site specific outdoor installation at Stag Place 'Big Painting Sculpture' in collaboration with his son in law Julian Feary of Feary and Heron Architects.

Later life

In 1947 Heron began a series of portraits of T.S.Eliot. The final cubist version, painted in 1949, was acquired by the National Portrait Gallery in 1966. Daughter Katharine was born early in 1947 and Susanna in 1949. The summer of 1947 was spent in St.Ives (as were consecutive summers until 1956 when the family moved permanently from London to Cornwall) followed by first London exhibition at Redfern Gallery in October. Heron's writings were admired by American art critic Clement Greenberg who sought him out in London in 1954. The friendship they formed eventually disintegrated when they disagreed as judges of the John Moores Prize Exhibition in 1965.

In April 1956 the family moved from London to Eagles Nest in west Cornwall, and in June he exhibited 'Tachiste Garden Paintings' at Redfern Gallery. The following year his first Stripe paintings were exhibited in a group exhibition at the Redfern Gallery 'Metavisual, Taschiste, Abstract' (exhibition title invented by Delia Heron). Towards the end of the next decade Alan Bowness wrote: " I can think of few more disconcerting pictures shown in England in the last twenty years than Patrick Heron's striped paintings of 1957."

"Heron's Garden Paintings of 1956 mark a singular achievement within British Art of the period. With these canvases Heron found a route towards abstraction, not of a given motif, but instead formed from the formal balance achieved between the visual reality of what he saw in the garden at Eagles Nest and the pictorial reality of what he painted. The resulting paintings were executed at a remove from an idea of a representational subject and so freed Heron to deal directly with a pictorial reality.

In 1958, he moved to Ben Nicholson’s former studio at Porthmeor, St Ives, and two years later he held his first exhibitions in New York at the Bertha Schaefer Gallery and at the newly arrived Waddington Galleries in London."The American critical response was enthusiastic and perceptive. Dennison, in Arts (April 1960) was struck by the subtlety and richness of his colour and ....He was able to discern a crucial distinction " Where Rothko arrives at an impersonal and yet lyrical grandeur, Heron develops a personal image.." ......For Stuart Preston of the new York Times, Heron was ' balancing [his specific, squarish shapes ] in compositions of momentary equilibrium. Their state of suspended animation gives his pictures their extraordinary lightness despite the positive existence of his forms.'

Heron won the Grand Prize at the John Moores Prize Exhibition in Liverpool in 1959 and the silver medal at the São Paulo Art Biennial in 1965. He held retrospective exhibitions at the Whitechapel Art Gallery in 1972 and at the Barbican Art Gallery in 1985.

He visited Australia in 1967 and 1973, exhibiting at the Bonython Gallery, Sydney. He delivered the Power lecture in Contemporary Art entitled ''The Shape of Colour''.”He wrote ‘ There is no shape that is not conveyed to you by colour, and there is no colour that can present itself to you without involving shape. If there is no shape then the colour would be right across your retina’ “

In 1989 he returned to Sydney as artist in residence at the Art Gallery of New South Wales. Over a period of 16 weeks he produced six large paintings and forty six gouaches creating "...the final great breakout into the freely executed paintings inspired by his new acquaintance with the Botanical Gardens of Sydney and, once more, his abiding love, the garden at Eagles Nest."

In 1994 his Exhibition "Big Paintings" was held at Camden Arts Centre. Heron's largest and most ambitious paintings were 15–22 ft long. A major retrospective exhibition of his work was held at the Tate Gallery in 1998 selected by David Sylvester.

"One major change that came about in Heron’s painting as a result of his time in Sydney, was a greater awareness of the white primed canvas as a colour space in its own right. ..the Sydney Garden Paintings gave Heron the licence to create works that were seemingly quickly wrought and sparsley painted- which even appear at first to be incomplete or negligent. Ones expectations of what should be are affronted. Nevertheless, this reaction belies a complexity that the artist worked through in his last paintings..and reached a highpoint..in 1998”

"His last paintings were full-on, risky, filled with bright squiggles, painterly flurries and cartoon doodles. They should have been chaotic and absurd, but they were instead open and vital, eye-rocking and beautiful. Heron's retrospective was ravishing, and had the vitality of a much younger artist.

He continued painting until the day before he died. He died peacefully at his home in Zennor, Cornwall, in March 1999 at the age of 79. He was survived by both his daughters, Katharine Heron, now an architect and Susanna Heron, a sculptor.

Many of his works can be seen at The Tate Collection, London and at Tate, St Ives, Cornwall.

On 24 May 2004, the Momart warehouse fire destroyed a number of Heron’s most important works.

Photographs of Patrick Heron

The wrong portrait of Patrick Heron was published in Adrian Clark's book (British and Irish Art 1945-1951: From War to Festival, Hogarth Arts, 2010) Portraits of the artist Patrick Heron can be found at the National Portrait Gallery

See also

List of St. Ives artists

References

External links

Artcyclopedia entry

Tate Biography

artcornwall.org on-line journal for art and artists in Cornwall

http://www.guardian.co.uk/news/1999/mar/22/guardianobituaries.michaelmcnay

http://www.waddington-galleries.com/artists/heron/

http://www.npg.org.uk/collections/search/person/mp09379/patrick-heron

http://www.bridgemanart.com/search.aspx?key=patrick%20heron&filter;=CBPOIHV&sl;=gb

http://robinsimononart.blogspot.com/2010/09/patrick-heron-which-patrick-heron.html">the British art blog: Patrick Heron? Which Patrick Heron?

Category:1920 births Category:1999 deaths Category:British conscientious objectors Category:English painters Category:St Ives artists Category:Cornish painters Category:Contemporary painters Category:Alumni of the Slade School of Art Category:Alumni of the Central Saint Martins College of Art and Design Category:Old Georgians (Harpenden) Category:People from Zennor

fr:Patrick Heron