Angelic Iconography in the First Pre-Christian Century?
The following fragments are from a corpus of works J. Strugnell called "The Angelic Liturgy," which describes angelic adoration and earthly worship as being concurrent and connatural. They are works of early Merkevah mysticism termed "Hekalot," or "Palaces," that aim to comprehend the environment of the Throne Chariot and the compartments/abodes of the angels, and clearly mark the coincidence of the Supernal with the mundane. "All that is above, thus also below."
In this respect, the passages may hint at the true configuration of the numinous Teraphim: sculpted, painted, or engraved representations of elohim (angels) fixed in alcoves in homes and places of worship... a functional prototype for Orthodox icons. Aniconism may also help to explain the dearth of explicit information about the manufacture of Teraphim, since they were regarded by some as an undesirable remnant of Aramaean paganism, while others venerated them on the same level as the priestly Ephod.
The passages are given as related by Geza Vermes in The Complete Dead Sea Scrolls in English (note that "gods" is a literal translation of "elohim," or angels):
In this respect, the passages may hint at the true configuration of the numinous Teraphim: sculpted, painted, or engraved representations of elohim (angels) fixed in alcoves in homes and places of worship... a functional prototype for Orthodox icons. Aniconism may also help to explain the dearth of explicit information about the manufacture of Teraphim, since they were regarded by some as an undesirable remnant of Aramaean paganism, while others venerated them on the same level as the priestly Ephod.
The passages are given as related by Geza Vermes in The Complete Dead Sea Scrolls in English (note that "gods" is a literal translation of "elohim," or angels):

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