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Jamie Boyd (B.1948-) |
David Boyd (B.1924-)
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Artist:
Arthur Boyd
(1920-1999)
RED ROCK 1990
ENLARGE
Medium: Oil on canvas
Image Size: 147 x 154.5cm
Price:
SOLD
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Price may change without a prior notice
to purchase please
contact us |
Boyd family tree
Best of Boyd Exhibition 2010 |
for SALE
Arthur Boyd’s
Bride.
Lysistrata
1970
Portfolio
in a special folder, contains
20
unframed
etchings, all numbered and signed by
Arthur Boyd
Provenance:
Boyd family collection
Portfolio
Price: $85,000
contact us
Lysistrata
etchings
1970
available for sale - please scroll down
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Artist:
Arthur Boyd
(1920-1999)
Allegory & Myth
Medium: Oil on canvas
Image Size: 180 x 180 cm
Price:
SOLD
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Artist:
Arthur Boyd
(1920-1999)
Three Ladies
Magic Flute
Medium: Oil on canvas
Image Size: 200 x 250 cm
Price:
SOLD
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Artist:
Arthur Boyd
(1920-1999)
Waterfall bather & the Elder
Medium: Oil on canvas
Image Size:
Price:
SOLD
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Artist:
Arthur Boyd
(1920-1999)
The Green Queen of the Night
Medium: Oil on canvas
Image Size: 200 x 250 cm
Price:
SOLD
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Artist:
Arthur Boyd
(1920-1999)
Title:
Black Pool & Queen of the Night
Medium: Oil on canvas
Image Size: 250 x 200 cm
Price:
SOLD
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Artist:
Arthur Boyd
(1920-1999)
Shoalhaven River, Cockatoos
Medium: oil
on copper
Image Size:
38 x 30.5cm
Price:
SOLD
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Artist:
Arthur Boyd
(1920-1999)
Shoalhaven River
Bundanon
Medium: Oil on canvas
Image Size: 30.5 x 21.5
Price:
SOLD
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Artist:
Arthur Boyd
(1920-1999)
Title:
Pulpit Rock
Medium: Oil on canvas
Image Size: 82 x 82 cm
Price:
SOLD
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Artist:
Arthur Boyd
(1920-1999)
Title:
Shoalhaven River Dusk 1985
Medium: Oil on canvas
Image Size: 30.5 x 21.5
Price:
SOLD
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Artist:
Arthur Boyd
(1920-1999)
Title:
Lovers Shoalhaven A/P
Medium: Collagraph A/P
ENLARGE
Size: 80 x 60 cm
Price
framed:
SOLD
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for SALE
Lysistrata
1970
Portfolio
in a special folder, contains
20
unframed
etchings, all numbered and signed by
Arthur Boyd,
Portfolio
Price: $85,000 |
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CLICK on the image
to ENLARGE |
The front page the Sydney Morning
Herald canvas
"The Best of Boyd" exhibition in
Galeria Aniela
May 1997
ENLARGE
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Arthur Boyd and Aniela, 1995
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Galeria
Aniela
recognizes the importance of a buyer confidence in
buying authentic works of art
and we sell,
to a world wide client base, items only of impeccable provenance
and quality.
We provide a
professional service and give an informed advice with an
opportunity to purchase top-quality
works of art
by some of Australia's most important artists.
Our people focused approach
ensures that everyone has an enjoyable and rewarding experience |
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Arthur
Merric Bloomfield
Boyd
(1920- 1999)
is
Australia's most famous 20th century
artist
who moved
Australian art into attention of the
outside world
and the international
arena.
Arthur Boyd
along with
David Boyd,
Drysdale,
Charles Blackman,
John Perceval,
Nolan, John Brack,
and Robert
Dickerson
established a substantial part of Australia's legacy.
They dominated
Australian art scene since
the Antipodean
Manifesto in 1959
and recognised as
the most important Australian artists. |
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Arthur Boyd
(1920-1999) in his Bundanon Studio
Yvonne
& Arthur Boyd, Aniela at BOYD exhibition in Galeria Aniela |
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Title:
Lysistrata Etching
no.1
19/50 1970
Lysistrata between the Athenian and the Spartan
Medium: Intaglia
Etching
and aquatint printed in black ink from one plate.
Provenance: Boyd family
private collection.
Image
Size: 35 x 40 cm |
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Title:
Lysistrata Etching
no.7 19/50 1970
The Women Defend Themselves 'Now
forward, water quench their furies'
Medium:
Intaglia Etching
and aquatint printed in black ink from one plate.
Provenance: Boyd family
private collection.
Image
Size: 35 x 40 cm |
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Title:
Lysistrata Etching no.8 19/50 1970
Women's
Chorus 'I'll rip you with my teeth and strew your entrails at my
feet'
Medium: Intaglia
Etching
and aquatint printed in black ink from one plate.
Provenance:
Boyd family
private collection.
Image
Size: 35 x 40 cm |
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Title:
Lysistrata
Etching
no.10
19/50 1970
Magistrate Enters "Bring me a crowbar and I'll
chastise this and their impertinence'
Medium: Intaglia
Etching
and aquatint printed in black ink from one
plate.
Provenance: Boyd family
private collection.
Image
Size: 35 x 40 cm |
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Title:
Lysistrata Etching
no.13 19/50
1970
The Women
Triumphant 'I could dance away numberless suns'
Medium: Intaglia
Etching
and aquatint printed in black ink from one plate.
Provenance: Boyd family
private collection.
Image
Size: 35 x 40 cm |
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Title:
Lysistrata Etching
no.14
19/50 1970
Lysistrata 'They are all deserting. The first I caught was
sidling through the postern close by the cave of Pan.'
Medium: Intaglia
Etching
and aquatint printed in black ink from one plate.
Provenance: Boyd family
private collection.
Image
Size: 35 x 40 cm |
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Title:
Lysistrata Etching
no.17 19/50 1970
'Then
slip your mouth aside just as he is sure of it.'
Medium: Intaglia
Etching
and aquatint printed in black ink from one plate.
Provenance: Boyd family
private collection.
Image
Size: 35 x 40 cm |
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Title:
Lysistrata
Etching
no.19 19/50 1970
'Earth is
delighted now, peace is the voice of earth. Spartans sort out
your wives, Athenians yours.'
Medium: Intaglia
Etching
and aquatint printed in black ink from one plate.
Provenance: Boyd family
private collection.
Image
Size: 35 x 40 cm
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Lysistrata
suite 1970
Arthur Boyd created the suite in
1970
based on the Greek political comedy Lysistrata - by the
playwright Aristophanes.
It told the story of the women of
Athens persuaded by Lysistrata to deny their husbands and lovers
all sexual favors until the men had come to terms of peace.
Described as ‘dramatic in invention and so brilliant in
technique’ these etchings are now available for your
acquisition..
It was inspired by Aristophanes' comedy about the women who
occupy the Acropolis and refuse to surrender until the men of
Athens and Sparta end the War. While he interprets the main
situations of the comedy, he finds graphic equivalents for the
human dilemma, the erotic tension and the comic exuberance of
the play.
Lysistrata, the
third and final play of Aristophanes' War and Peace series, was
produced in 411 B.C. At the twenty-first year of the War when
there seems as little prospect of peace as ever a desperate
state of things demanded a desperate remedy thus the women of
Athens, led by Lysistrata (and supported by female delegates
from other states of Hellas), were determined to take matters
into their own hands and force the men to stop the War. Thus the
Women meet in solemn conclave, and Lysistrata expounds her
scheme, the rigorous application to husbands and lovers of a
self-denying ordinance.
Saying - "we must refrain from the male altogether." Every wife
and mistress is to refuse all sexual favors whatsoever, till the
men have come to terms of peace. In cases where the women must
yield 'par force majeure,' then it is to be with an ill grace
and in such a way as to afford the minimum of gratification to
their partner; they are to be passive and take no more part in
the amorous game than they are absolutely obliged to.
By these means Lysistrata assures them they will very soon gain
their end. "If we sit indoors prettily dressed in our best
transparent silks and prettiest gewgaws, and all nicely
depilated, they will be able to deny us nothing." Such is the
burden of her advice. After no little demure, this plan of
campaign is adopted, and the assembled women take a solemn oath
to observe the compact faithfully. Meantime as a precautionary
measure they seize the Acropolis, where the State treasure is
kept; the old men of the city assault the doors, but are
repulsed by "the terrible regiment" of women. Before long the
device of the bold Lysistrata proves entirely effective.
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Title:
Lovers Shoalhaven River Bank A/P
Medium: Collagraph A/P
Size: 80 x 60 cm
PROVENANCE:
Boyd family Private collection |
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Title:
Shoalhaven
at Sunset
Medium: oil
on copper
Image Size:
30.2 x 22.5cm
Signed Lower right: ARTHUR BOYD
NOTES:
Valued
$60-$80K
plus 22% buyers premium & GST
Joel
Fine Art lot No: 56,
30 October
2007
"Shoalhaven at Dusk" oil on
copper, 30x21cm
Themes of love and
death, sin and redemption, beauty and terror, preservation and
destruction are consistently apparent in the paintings of Arthur
Boyd, but perhaps nowhere more than in the artist's images of
his beloved Shoalhaven region of New South Wales. As Grazia Gunn
has commented, the land Boyd paints is not only beautiful and
fragile, it is powerful and dangerous, a prehistoric landscape
which traps you in its primordial mysteries. To break the
balance between its power and fragility is to destroy it.' (G
Gunn cited in B. Pearce, Arthur Boyd, Sydney, 1993, p.177). In
Shoalhaven at Dusk, Boyd creates an exquisite, jewel-like image
of the Shoalhaven, the clarity of the image facilitated by the
artist's choice of copper as the medium. The scene is captures
the rosy light of dusk, which becomes a melange of greys and
purple in the river. The hillside becomes a tapestry of grey,
cream and toffee brown, enlivened and dramatised by swathes of
black and white tree trunks. A white cockatoo swoops down,
offering a further connection between land, water and sky. Here,
Arthur Boyd creates an image of almost feminine beauty, a paean
to nature as much as a refined plea for the conservation of the
delicate ecology of the region.
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Title:
The
Shoalhaven River
Medium: oil
on copper
Image Size:
30.5 x 20.5cm
Signed Lower right: ARTHUR BOYD
Provenance:
Private collector |
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Title:
Nude
Unveiled
Medium: Oil
with collage on paper
Image Size:
55.5 x 65.5cm
Image Size:
94 x 103 cm
Signed Lower right: ARTHUR BOYD
Provenance: Private collector, NSW |
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Arthur Boyd's hauntingly beautiful paintings of
the 'Bride' series of the late-1950s are numbered among his
finest, firm of figure and powerful of imagery.
Love,
Marriage and Death of a Half-Caste, as the series was called
collectively, touches on the epic and the heroic, an Antipodean
tragedy of the proportions of Romeo and Juliet. In
Boyd
'Bride'
series,
his
technique ...... became more painterly and figures integrated with
their bush land settings.
The figures metamorphosed into dragonflies or
windmills as themes of thwarted love, of Eros; and references to
classical mythology emerged in the highly personalised, often
erotic, symbolism, influenced by Renaissance masters and the
vigor of contemporary expressionism.
Arthur Boyd paintings took on a
greater thickness through the developed skill of his handling.
brides and dispossession, as well as a whiff of eroticism, were
well to the fore in Boyd's first one-man exhibition in swinging
1960s London at Zwemmer Gallery, where
this ‘Bride
Walking in a Creek I’ (sold for $703,000) was
was first exhibited in the 50's.
Lately, June 2010
Tate
Gallery London acquired first Arthur Boyd "Bride"
at £250,000.
The Australian 18 June
2010| Tate Modern lifts the veil on Boyd bride
Certainly
brides are part
of the iconography for much of Arthur Boyd rich ..output"
Courtesy:
Peter Fish The Money-Business Sydney Morning Herald,
1 October 2005.
In Bride
series
at a Waterfall the
plunging figure in white becomes the waterfall at which she
drinks below, the fire consuming passion of her lover emerging
from the primal forest, figured partly in elements of face and
hand reaching to touch the downward rush.
Figures emerge and
submerge in the bush-land of a highly idiosyncratic work, of
multiple meaning and quenching thirst, redolent with the energy
of drama.
Curtsey:
Sotheby's catalogue, 23 April 2007.
The
bride
series
same as the
Nebuchadnezzar (sometimes on fire)
, and other themes
series
continued into years.
Today,
the presence of the 'Bride'
series paintings are rarely in private collections but rather in major public collections
including
Tate Gallery London,
National Gallery of Victoria,
National Gallery of Australia
and
Art Gallery of South Australia
that confirms the stature of
Arthur Boyd legacy
in Australian and
international art.
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 Nebuchadnezzar
on
Fire, fallen in a field circa 1968
Medium: oil
on canvas
Image Size:
20.2
by 25.5 cm
Framed Size: 56 by 60 cm
Signed
lower right,
bears artist's name
See
Nebuchadnezzar VIDEO live
Condition Report
This painting
includes an original
leather bound
Nebuchadnezzar
book, (see
below).
PROVENANCE
Private
collector, NSW, 2007
Boyd family Private collection, London since the 60’s.
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Front cover Nebuchadnezzar;
34 paintings and 18 drawings by Arthur Boyd;
published by Thames and Hudson,
text by T. S. R. Boase 1972.
This
limited edition book (Number 5) contains
the
photograph of the
Nebuchadnezzar
on
Fire, fallen in a field painting.
The book is
numbered,
and signed by Arthur Boyd as well as
the publisher contains
Nebuchadnezzar
34 paintings. The book
(size 25 cm by 30 cm by 9.5 cm)
is contained in the specially made box, produced of
cardboard covered in black cotton, which measures 25 cm
by 30 cm by 9.5 cm depth. |
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River circa
1984-85 |
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Artist:
ARTHUR
BOYD (1920-1999)
Title:
The
Shoalhaven River circa 1984-85
Medium: oil
on copper
Image Size:
38 x 30.5cm
Price: SOLD
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RED ROCK
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Artist:
ARTHUR
BOYD (1920-1999)
Title:
RED ROCK 1990, Magic
Flute series
Best of Boyd
exhibition
Medium: Oil on canvas
Image Size: 147 x 154.5cm
Signed: ARTHUR BOYD Lower right
Price: SOLD
Exhibited:
1990 Opera House Sydney Australia
1990 Wagner Galleries, Paddington, Sydney Australia
1991 Regional Art Gallery of NSW
1991 Wagner Gallery cooperation with New York gallery, USA
1992 Boone
art gallery, New York USA,
1992 Wagner Gallery exhibited with cooperation of London
gallery, England
1997 Galeria Aniela, Kangaroo Valley NSW,
the
Best of Boyd
exhibition opened by
Cameron O'Reilly, Deputy Chairman
National Gallery of Australia,
the
front page of Sydney Morning Herald
May,
17 1997,
ABC
TV
National News May
18, 1997,
O'Reilly
- Business Sydney Morning Herald August 12, 2003,
2005 The Art Lounge
Gallery, Sydney exhibition opened by
Edmund Capon,
DIRECTOR
of the
Art
Gallery of New South Wales
NOTES:
The painting
represents eternal love, human endurance and rebirth of a
soul. Red Rock remained for Arthur
Boyd the most spiritual place;
symbolizing life, happiness
and reincarnation. In the middle of the painting are
two pale figures which signify Angels of Love and the new
beginning. A
superb work of art, painted 1990, exhibited around the world,
belongs to the
Magic
Flute series. Boyd designed the
series to be the milieu at the first ‘Magic Flute’ Mozart opera
performance in Sydney Opera House. The opera story say that Price
Tamino fell in love in the Green Queen of the Night daughter,
the Queen attempts to kill Price
Tamino but the true love prevails as the Red Rock NT Australia
remains the most spiritual place for over 60,000 years. |
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Artist:
ARTHUR
BOYD (1920-1999)
Title:
ALLEGORY AND MYTH,
Magic Flute II -
Magic Flute Series
Medium: Oil on canvas
Image Size: 180 x 180 cm
Signed: ARTHUR BOYD
Lower left
Price: SOLD
NOTES
This painting is
illustrated!
page 103, Arthur Boyd Bundanon by Janet McKenzie
ALLEGORY AND MYTH,
Magic Flute II
is a splendid painting representing strength, abundance,
mortality and power of mankind. The figure on the right is a
symbolic representation of the "God of War" personifying
strength and power, waterfall depicts life and the animal
submits to the Queen and portrays Arthur Boyd himself. |
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Artist:
ARTHUR
BOYD (1920-1999)
Title:
BLACK POOL and THE
Queen of the Night
- the Magic Flute series
Medium: Oil on canvas
Image Size: 250 x 200 cm
Signed: ARTHUR BOYD
Lower right
Price:
SOLD
NOTES:
"Black Pool and Queen of
the Night" illustrated in the Arthur Boyd at Bundanon
book by Janet McKenzie page 104
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Artist:
ARTHUR
BOYD (1920-1999)
Title:
THE GREEN QUEEN OF THE NIGHT -
the Magic Flute series
Medium: Oil on canvas
Image Size: 200 x 250 cm
Signed: ARTHUR BOYD
Lower left
Price:
SOLD
NOTES:
Green Queen of the Night -
this magnificent painting was featured on the front page of the
Sydney Morning Herald 17, May 1997. |
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THREE LADIES |
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Artist:
ARTHUR
BOYD (1920-1999)
Title:
THREE LADIES - the Magic Flute series
Medium: Oil on canvas
Image Size: 200 x 250 cm
Signed: ARTHUR BOYD
Lower left
Price: SOLD
NOTES:
"Three Ladies" were the
helpers to the Queen, representing spirit of good fate. |
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Artist:
ARTHUR
BOYD (1920-1999)
Title:
Waterfall with a bather
and the Elder
Medium: Oil on canvas
Image Size: 122 x 82 cm
Signed: ARTHUR BOYD
Lower left
Price: SOLD
NOTES:
The Shoalhaven River was the constant source of inspiration for
Boyd's work. He had a strong relationship between the landscape
and the Shoalhaven River. Most paintings he has done on the
riverbank location were in small, the large works he painted in
his studio. In 1993, Arthur Boyd gave his Bundanon estate on
Shoalhaven River in NSW to the nation for the benefit of many.
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Artist:
ARTHUR
BOYD (1920-1999)
Title:
GREEN SERPENT AND A LADY
Medium: Oil on canvas
Image Size: 122 x 82 cm
Signed: ARTHUR BOYD
Lower right
Price: SOLD |
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Artist:
ARTHUR
BOYD (1920-1999)
Title:
PULPIT ROCK
Medium: Oil on canvas
Image Size: 82 x 82 cm
Signed: ARTHUR BOYD
Lower right
Price: SOLD |
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Artist:
ARTHUR
BOYD (1920-1999)
Title:
Shoalhaven River Dusk 1985
Medium: Oil on canvas
Image Size: 30.5 x 21.5
Signed: ARTHUR BOYD
Lower right
Price: SOLD
NOTES:
The Shoalhaven River was the constant source of inspiration for
Boyd's work. He had a strong relationship between the landscape
and the Shoalhaven River. Most paintings he has done on the
riverbank location were in small, the large works he painted in
his studio. In 1993, Arthur Boyd gave his Bundanon estate on
Shoalhaven River in NSW to the nation for the benefit of many. |
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Nebuchadrezzar faces off against
Zedekiah,
the last king of
Judah,
who holds a plan of
Jerusalem,
in this
Baroque-era
depiction in
Zwiefalten Abbey
in
Germany.
Nebuchadrezzar engaged in several military campaigns designed to
increase Babylonian influence in Syria and Judah. An attempted invasion
of Egypt in 601 BC was met with setbacks, however, leading to numerous
rebellions among the states of the Levant, including Judah.
Nebuchadrezzar soon dealt with these rebellions, capturing
Jerusalem
in 607 BC deposing King
Jehoiakim,
destroying both the city and the Temple and deporting many of the
prominent citizens along with a sizable portion of the Jewish population
of Judah to Babylon. These events are described in
Ketuvim,
a section of
Tanakh,
the
Hebrew Bible
and known to non-Jews as the
Old Testament.
After the destruction of Jerusalem, Nebuchadrezzar engaged in a thirteen
year long siege of
Tyre
(585-572
BC), which ended in a
compromise, with the Tyrians accepting Babylonian authority. It would
appear that following the pacification of Tyre, Nebuchadrezzar turned
again to Egypt. A
clay tablet,
now in the
British Museum,
bears the following inscription referring to his wars: "In the 37th year
of Nebuchadrezzar, king of the country of Babylon, he went to
Mitzraim
(Egypt) to make war.
Amasis,
king of Egypt, collected [his army], and marched and spread abroad.".
Having completed the subjugation of Phoenicia, and inflicted
chastisement on Egypt, Nebuchadrezzar now set himself to rebuild and
adorn the city of Babylon, and constructed canals, aqueducts, temples
and reservoirs. Babylonian tradition has it that towards the end of his
life, Nebuchadrezzar, inspired from on high, prophesied the impending
ruin to the Chaldean Empire (Berosus
and
Abydenus
in
Eusebius,
Praep. Evang., 9.41). Nebuchadrezzar died in Babylon between the second
and sixth months of the forty-third year of his reign.
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Nebuchadrezzar seems to
have prided himself on his constructions more than on his victories.
During the last century of
Niniveh's
existence, Babylon had been greatly devastated, not only at the hands of
Sennacherib
and
Assurbanipal,
but also as a result of her ever renewed rebellions. Nebuchadrezzar,
continuing his father's work of reconstruction, aimed at making his
capital one of the world's wonders. Old temples were restored; new
edifices of incredible magnificence were erected to the many gods of the
Babylonian pantheon (Diodorus
of Sicily, 2.95;
Herodotus,
1.183) to complete the royal palace begun by Nabopolassar, nothing was
spared, neither "cedar-wood, nor bronze, gold, silver, rare and precious
stones"; an underground passage and a stone bridge connected the two
parts of the city separated by the Euphrates; the city itself was
rendered impregnable by the construction of a triple line of walls. The
bridge across the Euphrates is of particular interest, in that it was
supported on asphalt covered brick piers that were streamlined to reduce
the upstream resistance to flow, and the downstream turbulence that
would otherwise undermine the foundations. Nor was Nebuchadrezzar's
activity confined to the capital; he is credited with the restoration of
the Lake of
Sippar,
the opening of a port on the Persian Gulf, and the building of the
famous Mede wall between the Tigris and the Euphrates to protect the
country against incursions from the North. In fact, there is scarcely a
place around Babylon where his name does not appear and where traces of
his activity are not found. These gigantic undertakings required an
innumerable host of workmen; from the inscription of the great temple of
Marduk,
we may infer that most probably captives brought from various parts of
Western Asia made up a large part of the labouring force used in all his
public works. Nebuchadrezzar made the hanging gardens for his wife
Amyitis (or Amytis)
to remind her of her homeland, Medis (or Media).[1]
She was the daughter (or granddaughter) of King
Cyaxares
the Mede.There
was a
Portrayal in the Books of Daniel and Jeremiah
Nebukadnezar, by
William Blake,
Nebuchadrezzar is most widely known
through his portrayal in the Bible, especially the
Book of Daniel
(where he appears as "Nebuchadnezzar"). This book discusses several
events of his reign, in addition to his conquest of Jerusalem. In the
second year of his reign (evidently counting from his conquest of the
Jews), Nebuchadrezzar dreams of a
huge image
made of various materials (gold, silver, bronze, iron, etc). The prophet
Daniel
tells him God's interpretation, that it stands for the rise and fall of
world powers. (Daniel Chapter 2). During another incident,
Nebuchadrezzar erects a large idol for worship during a public ceremony
on the plain of Dura. When three Jews, Hananiah, Mishael, and Azariah
(respectively renamed Shadrach, Meshach, and Abednego by their captors,
to facilitate their assimilation into Babylonian culture), refuse to
take part, he has them cast into a
fiery furnace.
They are protected by an angel [Daniel 3:25, KJV], and emerge unscathed
without even the smell of smoke. (Daniel Chapter 3). Another dream, this
time of an immense tree, is interpreted by Daniel the prophet. (Daniel
Chapter 4) Chapter 4 is also written by Nebuchadrezzar (Nebuchadnezzar
the king, unto all people, nations, and languages, that dwell in all the
earth; Peace be multiplied unto you. I thought it good to shew the signs
and wonders that the high God hath wrought toward me.) DAN4:1-2. While
boasting over his achievements, Nebuchadrezzar is humbled by
God.
The king loses his sanity and lives in the wild like an animal for seven
years (by some considered as an attack of the madness called
clinical boanthropy
or alternately
porphyria).
After this, his sanity and position are restored. A clay tablet in the
British Museum (BM34113) describes Nebuchadnezzar's behaviour during his
insanity: "His life appeared of no value to him... then he gives an
entirely different order... he does not show love to son or daughter...
family and clan does not exist
[2].
There is also a notable absence of any record of acts or decrees by the
king during 582 to 575 BC.[3]
Some scholars believe that the Book of Daniel was written long after the
events described, during the 2nd century BC, and thus are skeptical of
the details of Nebuchadrezzar's portrayal by Daniel. Some scholars think
that Nebuchadrezzar's portrayal by Daniel is a mixture of traditions
about Nebuchadrezzar — he was indeed the one who conquered Jerusalem —
and about
Nabonidus
(Nabuna'id), the last king of Babylon. For example, Nabonidus was the
real father of
Belshazzar,
and the seven years of insanity could be related to Nabonidus' sojourn
in
Tayma
in the desert. Evidence for this view was actually found on some
fragments from the
Dead Sea Scrolls
that reference Nabonidus (N-b-n-y) being smitten by God with a fever for
seven years of his reign while his son
Belshazzar
was regent. The
Book of Jeremiah
contains a prophecy about the arising of a "destroyer of nations",
commonly regarded as a reference to Nebuchadnezzar (Jer. 4:7), as well
as an account of Nebuchadnezzar's siege of Jerusalem and looting and
destruction of the temple (Jer. 52).
Successors:
After his
death
in October, 562 BC, having reigned 43 years, he was succeeded by his son
Amel-Marduk,
who, after a reign of two years, was succeeded by
Neriglissar
(559-555),
who was succeeded by
Nabonidus
(555-538),
at the close of whose reign (less than a quarter of a century after the
death of Nebuchadrezzar) Babylon fell under
Cyrus the Great
as the head of the combined armies of Media and
Persia.
Named
after Nebuchadrezzar
Notes
-
^
Foster,
Karen Polinger (1998). "Gardens
of Eden: Flora and Fauna in the Ancient Near East".
Transformations of Middle Eastern Natural Environments: Legacies and
Lessons: 320-329,
New Haven:
Yale University.
Retrieved on
2007-08-11.
-
^
Kendall K. Down, Daniel: Hostage in Babylon, p.30
-
^
Gleason Archer, Vol 7 Expositor's Bible Commentary.
References:
External
links:
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Book