Dr. Khaled Al-Haddar, Professor of Archaeology at the University of Benghazi, has stated that the four rivers mentioned in the Book of Genesis—Pishon, Gihon, Tigris, and Euphrates—were not merely decorative motifs in early Christian art but represented a prominent and essential theological symbol. Al-Haddar explained that this religious symbolism appeared extensively in mosaics, marble sarcophagus carvings, and murals within churches and underground catacombs. He noted that these rivers were profoundly linked in early Christian thought to the spiritual purpose of baptism; the water flowing in baptismal fonts was viewed as a symbolic extension of the holy waters of Paradise, granting the faithful a new birth and a renewed spiritual life. Furthermore, a parallel was drawn between these four rivers and the four Gospels (Matthew, Mark, Luke, and John); just as the rivers irrigate the barren earth to provide physical life, the Gospels nourish humanity with the word of Christ to provide spiritual salvation.
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The mosaics of the Qasr Libya church in the Green Mountain region of eastern Libya, discovered in 1957, are considered among the world’s most significant artistic examples documenting this symbol in 6th-century Byzantine Christian art. In this historic site, the rivers are not depicted as ordinary streams; instead, they are portrayed with high artistic skill as half-length human figures set within square frames. Each figure holds a jar from which water flows abundantly, a classical artistic style directly inspired by the depiction of river deities in ancient Roman art.
Al-Haddar detailed the distinct manner in which each river was portrayed: the “Euphrates” appears as a bearded man with dignified features reflecting solemnity, followed by a similarly dignified human representation of the “Tigris.” As for the “Gihon” and “Pishon” rivers, they were depicted using the same artistic method of carrying water jars, but with the addition of crowns made of aquatic plants or reeds, clearly reflecting the Greco-Roman artistic heritage rooted in the region. Al-Haddar emphasized that the presence of these rivers in the Qasr Libya church carries two primary significances: a cosmic dimension suggesting that Christianity had expanded to encompass the four corners of the earth nourished by these rivers, and a ritualistic dimension symbolizing the waters of baptism and the spiritual rebirth of believers. He concluded by noting that these mosaics represent a unique model in the Byzantine world, as they embody a creative intersection between religious symbolism, classical aesthetics, and a connection to local Libyan heritage, making them an invaluable cultural and civilizational legacy.
