The imagery of the vision of the valley of dry bones (Ezek 37. 1–14) still fascinates theologians and historians of religion with its exegetical and liturgical significance. Rarely represented in medieval art, the iconography of this singular topic related to the Last Judgment deserves closer attention on the part of art historians. The aim of the present contribution is to remedy this situation by offering an analysis of the main pictorial representations of Ezekiel’s prophecy within the medieval East and West. This paper examines the evolution of the theme from the first pictorial evidence from Mesopotamia through the Roman late antique funerary sculpture into the Catalan and Germanic illuminated manuscript production from 11th and 12th centuries. Then, the field of the investigation broadens by taking into consideration the Byzantine artistic patterns of Ezekiel’s vision of the resurrection of the dead. Finally, this paper accents the multilayered contribution of the mural paintings from the Balkan cultural field. In order to reconsider this subject through the prism of the artistic interactions between East and West, the continuity of an ancient pictorial tradition that seems to have been previously neglected is highlighted.

中文翻译：

---

旧约预言的西方和拜占庭之间的干骨头复活

枯骨谷景观的影像（以西结书37：1-14）仍然使神学家和宗教史学家着迷，具有解释和礼拜的意义。与“最后审判”相关的单个主题的肖像画很少出现在中世纪的艺术中，艺术史学家应对此给予更密切的关注。本文稿的目的是通过分析中世纪东西方的以西结书预言的主要图示来纠正这种情况。本文考察了主题的演变，从美索不达米亚的第一个图片证据到罗马晚期的古董葬礼雕塑，再到11世纪和12世纪的加泰罗尼亚语和日耳曼语照明手稿生产。然后，考虑到以西结对死者复活的拜占庭艺术模式，拓宽了调查领域。最后，本文强调了巴尔干文化领域壁画的多层贡献。为了从东方和西方之间的艺术互动的角度重新考虑这个主题，强调了以前似乎被忽略的古代绘画传统的连续性。