Mosaic With Cross, Star of David and Ancient Greek Inscription Unearthed in Turkey

A burial in southeastern Turkey revealed a 35‑square‑meter mosaic with a Greek inscription, marking one of the most significant archaeological discoveries in the region.

While preparing a grave in the rural Özbilek neighborhood of Diyarbakır’s Ergani district, locals uncovered the mosaic, which experts believe dates to the late Roman or early Byzantine period.

Discovery made during a routine burial The find features elaborate geometric patterns and two striking elements: a six-line inscription in ancient Greek and a Star of David enclosing a Christian cross.

Museum officials say this combination of Jewish and Christian iconography is exceptionally rare and could shed new light on cultural interactions in the region during antiquity.

Authorities moved quickly after the find. Villagers halted the burial and alerted local officials, prompting the Ergani District Gendarmerie to secure the site. The Diyarbakır Museum Directorate dispatched a team the same day to conduct an initial assessment, classifying the area as historically significant and launching an emergency excavation.

“Based on the style and motifs, we concluded that the mosaic likely dates to the late Roman or early Byzantine period,” said Mehmet Çelebi, deputy director of the Diyarbakır Museum. “It appears to have been the floor of a substantial structure — possibly a villa or religious building — and features rich geometric patterns.”

A multidisciplinary team of archaeologists, art historians, restorers, and anthropologists began a three-week rescue excavation. Their work uncovered the full mosaic, revealing both the intricate decorative elements and the enigmatic Greek inscription. Scholars believe the inscription may be a formal petition or spiritual plea, though translation efforts remain underway.

Greek inscription links find to Byzantine heritage The six-line inscription is written in ancient Greek, the administrative and liturgical language of the Byzantine Empire. Its presence reinforces the mosaic’s link to late antiquity, a period when Greek-speaking Christian communities were widespread in Anatolia.

Experts say the text, combined with the Star of David and cross motif, offers rare evidence of religious and cultural overlap in the region.

“This type of inscription, especially combined with such symbolic imagery, is rare and raises many questions about the religious and cultural interactions in the region during that period,” Çelebi said.

The mosaic lies within an active cemetery, prompting immediate preservation measures. After the excavation, the team covered the site with protective geotextiles. The Cultural Heritage Preservation Board has since prohibited further burials in the area and allocated a new section of the cemetery for future use.

Experts suspect the mosaic may belong to a larger, yet undiscovered, settlement linked to the ancient city of Memalan. Its quality and unusual iconography suggest the area could yield additional discoveries, potentially offering a clearer picture of religious life in southeastern Anatolia during late antiquity.

As translation work continues, historians and archaeologists regard the find as a rare window into the region’s cultural fusion, where multiple faiths and artistic traditions once coexisted and intertwined.

The hexagram was not yet widely associated with Judaism's Star of David at that time.

I asked Grok when did the hexagram become associated with the Star of David.

Grok says:

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The hexagram, commonly known as the Star of David or Magen David, became associated with Jewish identity gradually, with its origins and adoption as a symbol unfolding over centuries. Here's a concise timeline based on historical evidence:

Ancient and Early Use (Pre-Medieval Period): The hexagram, a six-pointed star formed by two interlocking triangles, appears in various cultures as a geometric or decorative motif, not specifically Jewish. It was used in ancient Mesopotamia, India, and other regions, often with cosmological or mystical significance. In Jewish contexts, it appeared as early as the 3rd century CE in synagogue decorations, such as in the Capernaum synagogue in Israel, but it was not yet a distinct Jewish symbol.

Medieval Period (7th–13th Centuries): The hexagram began appearing in Jewish manuscripts and artifacts, particularly in mystical and Kabbalistic traditions. It was used in Jewish esoteric texts, such as those associated with Kabbalah, where it symbolized concepts like the unity of opposites or divine protection. However, it was not yet widely recognized as a Jewish emblem. During this period, it also appeared in Islamic and Christian art, indicating its broader use as a geometric pattern.

14th–17th Centuries (Prague and Early Modern Adoption): The hexagram gained prominence as a Jewish symbol in Central Europe, particularly in Prague. In 1354, Emperor Charles IV granted the Jewish community of Prague the right to use a flag, and a hexagram reportedly appeared on it. By the 17th century, the hexagram was used on Jewish communal seals and flags, such as those of the Jewish community in Prague, marking its growing association with Jewish identity. It was sometimes referred to as the "Shield of David" (Magen David), linking it to biblical and protective symbolism.

18th–19th Centuries (Emancipation and Zionism): The hexagram’s association with Jewish identity solidified during the European Jewish emancipation, when Jews sought symbols to represent their communities. It appeared on synagogues, tombstones, and communal buildings. The Zionist movement, starting in the late 19th century, adopted the hexagram as a central emblem. At the First Zionist Congress in 1897, the hexagram was incorporated into the design of the Zionist flag, which later became the flag of Israel, cementing its status as the Star of David. 20th Century (Modern Symbol): By the 20th century, the hexagram was widely recognized as the primary symbol of Jewish identity, appearing in religious, cultural, and political contexts. Its use by the State of Israel, founded in 1948, further standardized it as the Star of David.

In summary, the hexagram’s association with the Star of David as a Jewish symbol began to take shape in the medieval period, particularly in Prague by the 14th century, and became firmly established in the 19th century with the rise of Zionism. Its adoption was a gradual process, evolving from a general geometric motif to a specific emblem of Jewish identity.

what dies the cross symbolize?

Why is Jesus on the cross such an important symbol for ...
The cross, particularly the Christian cross, primarily symbolizes love, sacrifice, and redemption, stemming from the belief that Jesus died on a cross to atone for humanity’s sins. It also represents victory over death and the hope of eternal life through Jesus’ resurrection. Beyond its religious significance, the cross can also be a symbol of faith, hope, and even cultural identity.
Here’s a more detailed breakdown:
Christianity:
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For Christians, the cross is the central symbol, representing Jesus’ sacrifice on the cross to redeem humanity.

Love and Sacrifice: The cross embodies the ultimate act of love and sacrifice, where Jesus willingly died for the sins of others.

Redemption and Forgiveness: The cross signifies the forgiveness of sins and reconciliation with God for believers.

Victory over Death: Through Jesus’ resurrection, the cross also represents victory over death and the promise of eternal life.
Hope and Faith:
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The cross can be a symbol of hope and faith in the face of adversity and suffering.
Other Interpretations:
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Some see the cross as a symbol of masculine and feminine, spirit and matter, or soul and body. It can also be a personal symbol for individuals, representing memories of loved ones or simply as an ornament.

Cultural Significance: In some cultures, the cross is a strong emblem of identity, faith, and tradition.

What Does the Cross Represent in the Christian Faith?
Fulfilled Prophecies. For anyone familiar with the Old Testament, the cross represents the culmination of prophecy dating back to ...

Pablo Picasso----A Cubist's take on the Crucifixion - Jun 3, 2019 — Many consider Picasso's depiction of suffering in “Crucifixion” as an anticipation of his masterpiece “Guernica.”

Picasso once said there was no more compelling image for a canvas than Christ on the cross. He painted a crucifixion scene in 1930, titled "Crucifixion". It is a significant piece in his body of work, bridging the gap between his earlier surrealist experiments and his later, more famous anti-war painting, "Guernica".

The painting depicts the central figure of Jesus on the cross, surrounded by other figures, including Mary and Mary Magdalene, and two thieves.

Key aspects of Picasso's "Crucifixion": The painting utilizes a Cubist approach with fragmented forms and bright colors, creating a sense of suffering and intensity according to aleteia.org. Precursor to Guernica: Many art critics see "Crucifixion" as a precursor to Picasso's powerful anti-war statement, "Guernica," due to the shared themes of suffering and the use of similar stylistic elements. It emphasizes the suffering and pain associated with the event, according to www.pablopicasso.org.

The painting includes the central figure of Jesus on the cross, as well as Mary, Mary Magdalene, and the two thieves. The painting is housed at the Musée Picasso in Paris. Crucifixion, 1930 by Pablo Picasso

agapebiblestudy.com explains the symbols from another archaeological find:

THE EARLY CHRISTIAN SYMBOLS OF THE OCTAGON AND THE FISH

Beneath the watchtower of the Megiddo Prison in modern Israel an archaeological excavation has revealed the site of the headquarters of the Roman army of the Sixth (Ferrata) and Second (Traiana) Legions who occupied the Holy Land, assuring Roman domination of the provinces of Judea and Samaria. Excavators have discovered courtyards, large ritual baths, a bakery, alleyways, living quarters and most important, a Christian meeting hall that may be the earliest Christian church discovered in the Holy Land. Archaeologists date the site to circa 230AD. It is one of very few Christian churches which dates to before the Edict of Milan in 313AD when the Roman Empire officially recognized Christianity as an approved religion protected by the Roman state. What makes this site especially unique is that it was established as a place of Christian worship by Roman soldiers and their families who lived in the local community.

The church building is a modest 16 feet by 32 feet, but within its walls several significant finds have cast light upon the rituals of Christians in the earliest centuries of the Universal Church. At the end of the hall two monolithic pilasters protrude several from the back wall. These structures were the bases for a central arch framing the focal point of the Sanctuary, and just under the missing arch two rectangular stone supports were discovered firmly anchored into the stone floor of the hall. These supports were undoubtedly the base for the Eucharistic table, the tapeza, where the offering of the bread and the wine were miraculously transformed by the power of the Holy Spirit into the Body, Blood, Soul, and Divinity of Jesus Christ.

Archaeologists have a good idea that they are correct in their interpretation of these structures which formed the altar area from the earlier discoveries of several liturgical tables found in the excavations of early Christian churches in North African. The most impressive find, however, at Megiddo was a beautiful mosaic floor, a story in stone which reveals the purpose of the sacred space. At each of the four sides of the mosaic, which at one time framed what was the altar, there are mosaic panels. Two sides the panels consist of geometric designs but on the front and back, which are the north and south sides, there are inscriptions written in Greek. On what would have been the back side of the altar (south side) the rectangle contains two inscriptions which face each other. The first inscription is a memorial inscription naming four women, an indication of the importance of women in the early Church. The second inscription identifies the donor of the mosaic as a Roman officer, a centurion named Gaianus identified as "our brother" indication he was a Christian member of the congregation. The inscription also includes the name of the artisan who carried out the work. The third inscription, in front of where the altar stood, clearly identifies that the empty space was the Eucharistic table of the Lord Jesus. The inscription reads: The God-loving Akeptous has offered the table to God Jesus Christ as a memorial, identifying the altar as a gift of a woman named Akeptous'another indication of the influential role women played in the early years of the Church. The mosaic on the north side contains not only the dedication inscription but also an elegant rectangle which encloses 8 smaller rectangles and rhombuses forming an intricate internal 8 sided, octagon-shaped design.

For Jews 8 was the number which symbolized salvation, rebirth and regeneration: 8 members of Noah's family were saved in the time of the Great Flood and it was on the 8th day of his life that a boy child was circumcised, signifying his entrance into the covenant family of Israel, the chosen people of God. But for early Christians 8 was the number which symbolized the resurrection of Jesus Christ and the formation of the New Covenant. Jesus was raised on the day after the 7th day, which was the Sabbath, making Jesus Resurrection on the 8th day, Sunday, which was the first day of the week and the day of the New Creation just as the old Creation also began on what is the first day of the week. It is for this reason that Christian churches built during the Byzantine period were 8-sided structures. The rediscovery of the ruins of St. Peter's house in Capernaum was verified by the identification of a central room used for Christian worship which was reconfigured as an 8-sided room. The Catechism of the Catholic Church affirms the significance of the number 8 for Christians in article # 349: The eighth day. But for us a new day has dawned: the day of Christ's Resurrection. The seventh day completes the first creation. The eight day begins the new creation. Thus, the work of creation culminates in the greater work of redemption. The first creation finds its meaning and its summit in the new creation in Christ, the splendor of which surpasses that of the first creation.

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