Kurt und Ursula Schubert Archiv
Title
o:475243 Kurt und Ursula Schubert Collection
Details
Details
Objects found (373)
Jewish Christian Encounter in Art (Israel 1987, Amerika 1989, Spanien 1990) – Teil 1
Late Antiquity: corresponds to http://phaidra.univie.ac.at/detail_object/o:472253
Middle Ages: further observations of rabbinic elements in medieval art. These were worked on with the same methodology: Aelfric Paraphrase (=Old English Hexateuch),... show more
Late Antiquity: corresponds to http://phaidra.univie.ac.at/detail_object/o:472253
Middle Ages: further observations of rabbinic elements in medieval art. These were worked on with the same methodology: Aelfric Paraphrase (=Old English Hexateuch), 11th century. Pamplona Bibles, around 1300, Navarra and later copies of the same; Byzantine Octateuch manuscripts; Koberg Bible, Nurnberg 1483; Pierpont Morgan Library, Psalter, MS 724
Connections to early Christian art on the one hand and to medieval Jewish book illumination on the other
Christian images of the Discovery of Moses showing Pharaoh’s daughter naked, following the model of Dura Europos
Parallel representations also appear in Sephardi Haggadot: Golden Haggadah, fol. 9r; BL, Or. 2884, 12r; Kaufmann Haggadah, p. 10; Castellazzo Bible.
Furnishing of the Torah shrine in the Synagogue of Dura Europos: theme of the temple, the sacrifice of Abraham, middle section repeatedly painted over. It deals with a messianic representation of the theophany with two Moses scenes to the left and right: the thorn bush and Mount Sinai.
Analogous theophany programmes appear in the Moses Basilica on Sinai, as well as in San Vitale, Ravenna, both from the 6th c.
(Translator: Joan Avery)
The Corresponding illustrations, selected by the Center of Jewish Art (Hebrew University, Jerusalem), can be found here: http://phaidra.univie.ac.at/detail_object/o:525998
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CC BY-NC-ND 4.0 International
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Jewish Figurative Art from the 3rd to the 18th Centuries
Turku, Finnland 1990, Jerusalem 1994
Siehe:
Bilder zu Bibel http://phaidra.univie.ac.at/detail_object/o:472253
Drei Vorträge an der Humboldt Universität, Berlin http://phaidra.univie.ac.at/detail_object/o:472446
Für den ersten Teil: Jüdische... show more
Turku, Finnland 1990, Jerusalem 1994
Siehe:
Bilder zu Bibel http://phaidra.univie.ac.at/detail_object/o:472253
Drei Vorträge an der Humboldt Universität, Berlin http://phaidra.univie.ac.at/detail_object/o:472446
Für den ersten Teil: Jüdische Kunst der Antike (Basel 1983) http://phaidra.univie.ac.at/detail_object/o:472616
Jüdische Buchmalerei im mittelalterlichen Deutschland http://phaidra.univie.ac.at/detail_object/o:472633
Jüdische figürliche Kunst vom 3.-18. Jahrhundert (Graz, 1992) http://phaidra.univie.ac.at/detail_object/o:472800
Jüdische Barockillustrationen in österreichischen Handschriften des 18. Jhts. http://phaidra.univie.ac.at/detail_object/o:474484
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Hebrew Illuminated Manuscripts from Burgenland in the 18th and 19th Century
Siehe:
Jüdische Barockillustrationen in österreichischen Handschriften des 18. Jhts. http://phaidra.univie.ac.at/detail_object/o:474484
Jüdische Buchkunst in Renaissance und Barock http://phaidra.univie.ac.at/detail_object/o:474553
Jüdische... show more
Siehe:
Jüdische Barockillustrationen in österreichischen Handschriften des 18. Jhts. http://phaidra.univie.ac.at/detail_object/o:474484
Jüdische Buchkunst in Renaissance und Barock http://phaidra.univie.ac.at/detail_object/o:474553
Jüdische Buchkunst in Renaissance und Barock http://phaidra.univie.ac.at/detail_object/o:474553
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CC BY-NC-ND 4.0 International
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o:474877 The Hebrew Bible in Art
The Hebrew Bible in Art
See http://phaidra.univie.ac.at/detail_object/o:472253 and http://phaidra.univie.ac.at/detail_object/o:474453 with other examples
* Prohibition of Images and the conflict with the culture of images (in particular the cult of pictures) in the... show more
See http://phaidra.univie.ac.at/detail_object/o:472253 and http://phaidra.univie.ac.at/detail_object/o:474453 with other examples
* Prohibition of Images and the conflict with the culture of images (in particular the cult of pictures) in the non-Jewish environment
* The Giving of the Law on Sinai, Leipzig Mahzor
* Northern France, 13th century: collected volume in London (ca. 1280) with illustrations from various workshops. The story of Lot and Solomonic judgement
* Mishna Torah in Budapest (1295-96): Cologne or Northern France, as earlier research had assumed. The Giving of the Law on Sinai
* Southern Germany and Rhineland: Bird’s Head Haggadah with Biblical and ritual scenes (such as the miracle of Manna, the miracle of the quails, the Giving of the Law)
* The Bird’s Head is a forerunner of the later Ashkenazi Haggadot from the 15th century, for instance the Second Nurnberg Haggadah (the march through the Sea of Reeds)
(Translator: Joan Avery)
The Corresponding illustrations, selected by the Center of Jewish Art (Hebrew University, Jerusalem), can be found here: http://phaidra.univie.ac.at/detail_object/o:525997
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The Origin and Significance of Jewish Pictorial Art in Talmudic Time (Lund, Göteborg, n.d.)
Siehe:
Christlich-jüdische Begegnungen in der Kunst http://phaidra.univie.ac.at/detail_object/o:472218
Bilder zur Bibel im Judentum http://phaidra.univie.ac.at/detail_object/o:472253
Einfluss der jüdischen Malerei auf die frühchristliche Kunst
... show more
Siehe:
Christlich-jüdische Begegnungen in der Kunst http://phaidra.univie.ac.at/detail_object/o:472218
Bilder zur Bibel im Judentum http://phaidra.univie.ac.at/detail_object/o:472253
Einfluss der jüdischen Malerei auf die frühchristliche Kunst
http://phaidra.univie.ac.at/detail_object/o:472308
Der Beitrag der Judaistik zur Erforschung der frühchristlichen Kunst http://phaidra.univie.ac.at/detail_object/o:472342
Jüdische Kunst der Antike http://phaidra.univie.ac.at/detail_object/o:472616
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The Influence of Rabbinic Texts on Early Christian Art (Brown University, 1989)
Siehe:
Christlich-jüdische Begegnungen in der Kunst http://phaidra.univie.ac.at/detail_object/o:472218
Bilder zur Bibel im Judentum http://phaidra.univie.ac.at/detail_object/o:472253
Einfluss der jüdischen Malerei auf die frühchristliche Kunst
... show more
Siehe:
Christlich-jüdische Begegnungen in der Kunst http://phaidra.univie.ac.at/detail_object/o:472218
Bilder zur Bibel im Judentum http://phaidra.univie.ac.at/detail_object/o:472253
Einfluss der jüdischen Malerei auf die frühchristliche Kunst
http://phaidra.univie.ac.at/detail_object/o:472308
Der Beitrag der Judaistik zur Erforschung der frühchristlichen Kunst http://phaidra.univie.ac.at/detail_object/o:472342
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Austrian Contribution to the Research of Jewish Art
First publication on Jewish art appeared in Vienna (by Schlosser and Müller with their publication of the Sarajevo Haggadah, 1898): the forerunner to this area of research
Short outline of the research that followed in Germany and archeological... show more
First publication on Jewish art appeared in Vienna (by Schlosser and Müller with their publication of the Sarajevo Haggadah, 1898): the forerunner to this area of research
Short outline of the research that followed in Germany and archeological excavations in Israel
In the Post War period the Vienna Institute for Jewish Studies was turned into a centre for those interested in Jewish art. The initial impulse was the discovery of the Old Testament frescoes in the Roman Catacombs of the Via Latina, where the iconography contains many Rabbinic elements (Kurt Schubert)
The methods for interpreting early Christian art in the light of rabbinic literature was then used for further works (Ashburnham Pentateuch, Vienna Genesis), which Schubert and his team worked on (Günter Stemberger, Su-Min Andreas Ri), and especially Ursula Schubert herself with the exhibition Spätantikes Judentum und frühchristliche Kunst, Late Antique Judaism and Early Christian Art)
At the same time Schubert and his team began to take interest in illuminated Hebrew manuscripts from the Middle Ages.
This interest led to an extensive collection of pictures on Hebrew book illumination towards the end of the 1970s. In 1982 the Jewish Museum in Eisenstadt was opened.
The following is an outline of the relationships between late antique Jewish and early Christian art as well as examples of medieval Jewish book illumination (publication of Jüdische Buchkunst [Jewish Book Art] 1984). Some projects were worked on by colleagues or doctoral students (Katrin Kogman-Appel in a dissertation on the Second Nurnberg Haggadah, Felicitas Heimann in a dissertation on the Second Darmstadt Haggadah).
Schubert’s interest in the elements of anti-Christian polemics in Jewish art
In the 1980s an exhibition was held in the Jewish Museum of Eisenstadt on Court Jews; the preparations for it awakened a new interest in Baroque book illumination (Jüdische Buchmalerei II, Jewish Book Illumination II, 1992), [see http://phaidra.univie.ac.at/detail_object/o:474484]
The work of the curator Felicitas Heimann-Jelinek could be seen in several Jewish museums
During the 1980s: work on the Moses dal Castellazzo project and publication of a facsimile edition
1992: Symposium Jüdische Wurzeln frühchristlicher Kunst, The Jewish Roots of Early Christian Art
(Translator: Joan Avery)
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Art as the Carrier of Tradition and Memory (Neuwaldegg 11.11.1991)
At the end of the memorial day of ‘Kristallnacht’
The Holy Days of Passover and Purim in particular are concerned with memory and commemoration
The Biblical covenant with God and the hope of the arrival of the Messiah enables Jews to withstand... show more
At the end of the memorial day of ‘Kristallnacht’
The Holy Days of Passover and Purim in particular are concerned with memory and commemoration
The Biblical covenant with God and the hope of the arrival of the Messiah enables Jews to withstand persecution
Passover, Purim and the covenant are themes found in Jewish art
Passover: the exodus of the Israelites from Egypt: the Dura Europos Synagogue; Bird’s Head Haggadah: the exodus from Egypt and the persecution from the Pharaoh’s army (with reference to Rudolf von Habsburg’s persecution of R. Meir of Rothenburg); Sephardi Haggadot (British Library, Or. 2737, Sarajevo Haggadah); printed Haggadot (Venetian Haggadah)
Purim: Kaniel Megilla: the story of Esther
The covenant with God: Dura Europos Synagogue – Binding of Isaac; the Beth Alpha Synagogue – Binding of Isaac; the Bird’s Head Haggadah – The Giving of the Law on Sinai; Dresdner Mahzor: Giving of the Law on Sinai; the Regensburg Pentateuch – Binding of Isaac, the Giving of the Law on Mount Sinai
Eschatological Scenes: Bird’s Head Haggada – Garden of Eden and the heavenly Jerusalem; Sarajevo Haggadah – the heavenly temple; the Second Nurnberg Haggadah – Elias (see also the Mantua Haggadah)
These themes also appear in the the illustration of modern Haggadot (Siegmund Ascher Forst, 1949)
(Translator: Joan Avery)
The Corresponding illustrations, selected by the Center of Jewish Art (Hebrew University, Jerusalem), can be found here: http://phaidra.univie.ac.at/detail_object/o:525996
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Assimilation tendencies from the 3rd to the 18th century (Conference: The problem of Jewish Identity from antiquity to the present)
The problem of Jewish figurative art: Pictures to the Bible http://phaidra.univie.ac.at/detail_object/o:472253
Beginning of Jewish figurative art in the Dura Europos Synagogue: Representation of Ezekiel’s vision of the resurrection of the dead... show more
The problem of Jewish figurative art: Pictures to the Bible http://phaidra.univie.ac.at/detail_object/o:472253
Beginning of Jewish figurative art in the Dura Europos Synagogue: Representation of Ezekiel’s vision of the resurrection of the dead under the influence of Roman-Greek trichotomic anthropology (man consisting of soma, pneuma and psyche)
After an interruption of several centuries figurative art reappears in Judaism in the 13th century, some of its themes influenced by Christian art, others independent thereof: (representations of Jewish traditions; topics induced by anti-Christian polemics).
Arba’a Turim from Mantua, Italy, 15th century (Vatican, cod. Ross 555, fol. 220r): Depiction of a wedding scene to illustrate a text section about marriage law. The illustration comes from a Christian painter and reflects the fact that Jews shared the taste of those in their Christian environment.
Italian Psalter in Parma (Biblioteca palatina, MS Parm3236, fol. 2r): margin illustration with putti and birds and an initial panel with a bust portrait of David.
Last quarter of the 15th century: introduction of the Hebrew printing press first in Italy (Soncino). The margin ornamentations come from the surrounding culture (vines, putti, wild animals).
In addition to these samples of contemporary taste in marginal ornaments one can also see the practice of figurative art in the wood block picture Bible of Moses dal Castellazzo (Venice, 1521). Dal Castellazzo used Christian Bibles with wood blocks as models (Cologne Bible, block books, Schedel’s Chronicle of the World), as well as older Christian manuscripts.
During the 16th century the printed medium was also used for the production of illustrated Haggadot (Mantua Haggadah, 1560, Venetian Haggadah, 1609). These also reflect the taste of the Christian surroundings.
During the 16th century Jewish culture is stronger in Italy than to the North of the Alps, where Prague Haggadah was printed in 1526.
These early modern woodblock Haggadot use medieval models from Jewish book illustrations and bring them together with elements (mainly ornamental) of the surrounding Renaissance culture.
From the beginning of the 17th century the cultural centre for Jewish book illumination moved to Amsterdam. This is where the 1690 Amsterdam copper plate engraving Haggadah was produced, using Matthias Merian’s 1627 copper plate engraving Bible as a model. It became particularly popular within the Christian community. The ornamentation of the Amsterdam Haggadah uses biblical scenes, relevant to the order of the Haggadah. The ritual scenes however convey biblical compositions and translate them into illustrations of Jewish rituals. In a second edition (1712) the repertoire of depictions of rituals was even extended.
Baroque manuscripts: see ("Jewish Baroque illustration") http://phaidra.univie.ac.at/detail_object/o:474484 and ("Jewish Baroque Illumination") http://phaidra.univie.ac.at/detail_object/o:474519
(Translator: Joan Avery)
The Corresponding illustrations, selected by the Center of Jewish Art (Hebrew University, Jerusalem), can be found here: http://phaidra.univie.ac.at/detail_object/o:525995
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License
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Jewish Book Art in the Renaissance and Baroque Periods
Siehe:
Illuminierte und künstlerisch interessante Bibeldrucke
http://phaidra.univie.ac.at/detail_object/o:474422
Jüdische Barockmalerei http://phaidra.univie.ac.at/detail_object/o:474484 show more
Siehe:
Illuminierte und künstlerisch interessante Bibeldrucke
http://phaidra.univie.ac.at/detail_object/o:474422
Jüdische Barockmalerei http://phaidra.univie.ac.at/detail_object/o:474484
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License
CC BY-NC-ND 4.0 International
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Jewish Baroque Painting of the 18th Century in Bohemian-Moravian-Austrian-Hungarian Border Region, City of Schlaining, September 1990
Siehe:
Jüdische Barockmalerei http://phaidra.univie.ac.at/detail_object/o:474484 show more
Siehe:
Jüdische Barockmalerei http://phaidra.univie.ac.at/detail_object/o:474484
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License
CC BY-NC-ND 4.0 International
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Jewish Baroque Illustrations in 18th century Austrian manuscripts (Lecture cycle 21.11.1996)
The roots of the tradition of Jewish Baroque manuscripts are to be found in the Bohemian-Moravian-Hungarian region. From thence the tradition passes through Vienna, Hamburg-Altona and into the Rhineland.
The earliest workshop was possibly in... show more
The roots of the tradition of Jewish Baroque manuscripts are to be found in the Bohemian-Moravian-Hungarian region. From thence the tradition passes through Vienna, Hamburg-Altona and into the Rhineland.
The earliest workshop was possibly in Leipnik, Moravia
Several possible reasons for the development of such a tradition: 1) as the Jewish religion includes hand written documents, such as the Torah Rolls, the profession of the scribe continues to live on after the invention of book printing. Torah scribes search for further sources of income; 2) economic upswing of Jewish families after the Spanish war of Succession and the Seven Year War.
Workshop in Trebitsch with old tradition: Arye Judah Loebh Kahane was from Trebitsch, worked in Vienna and later in Bavaria
Siddur for Simon Wolf, son of Daniel Oppenheim (Bodleian Mic. 9340)
Siddur for an unknown commissioner in Vienna (about 1720, BL, Add. 17867) with text expressing the hope that Emperor Karl VI will bring the Israelites to safety. This text is accompanied by a selection of Biblical scenes, whose iconography is borrowed from printed Hebrew books
Siddur from 1720
Prayer book from 1730 (Braunschweig Landesmuseum)
Moshe ben Wolf from Trebitsch and active in Trebitsch. Moshe left several Haggadot, which confer some of the Amsterdam Haggadah iconography to the medium of painting.
Haggadah from 1716/17
Van Geldern Haggadah, 1723 for the court Jew Eliezer ben Josef from Düsseldorf (Lazarus van Geldern)
Haggadah in Cincinnati (HUC MS 441), 1717 – with a representation of a Seder table reminiscent of the style of panel painting
Meshullam Zemel active in Vienna
Haggadah from 1719 for Nathan, Son of Isaac Oppenheim from Vienna (NNL 805573)
Shabbat prayer book (Bodl. Mich 4259) for a son-in-law of Isaac Oppenheim with a Kabbalistic Shabbat ritual. The tinted pen drawings are influenced by copper engravings.
Shabbat Order (BL Add. 8881): Illustration of several realia, borrowed from upper-class Christian society.
Dedication pages for the imperial couple (1732 and 1733, ÖNB cod. Hebr. 233, 234)
Aaron Wolf Schreiber Herlingen from Gewitsch, Moravia, active in Vienna
Birqat mazon from 1724 (NY ?, 8232) with several blessings for various holy days and everyday situations.
Haggadah from 1728 (Sotheby catalogue, Tel Aviv 1.10. 1991)
Collection of Psalms from 1735 (Frankfurt/Main, Stadtbibliothek, Ms hebr. Oct 14)
Latin Psalter for an archduke 1739.
Washed pen and ink drawings from a Haggadah 1749–52 (NY Mic. 4477) – strong conformity with the Amsterdam Haggadahh (in the iconography, as well as in the attempt to imitate the copper engraving technique)
Birqat hamazon from 1728 (Copenhagen, hebr. 32) from Nikolsburg, seat of the country Rabbi from Moravia
Micrography: Micrographic representation of Maria Theresia (lost); micrographic version of the five Megillot (1733–48)
Nathan ben Shimshon from Meseritz, active ca. 1720-1740
Passover Haggadot according to the model of the Amsterdam Haggadah (Jerusalem, NNL, cod. 2237)
Psalter with pen and ink drawings (Jerusalem, NNL, cod. 80987
Hayim ben Asher Anshel, Kittsee, Pressburg and Wien, active between 1741 und 1782, mainly in in Kittsee. Most of the manuscripts merely contain flower ornaments in the Rococo style.
Passover Haggadah from 1748 (Jerusalem, Israel Museum, cod. 181/53): Copy of the Amsterdam copper engravings with some motifs from the Venetian wood cuts Haggadah.
Josef ben David from Leipnik, Moravia: during the first half of the 18th century traceable in several places, finally settles in Altona. Figurative representations, reflecting the taste of the Baroque culture: Haggadah of Moses Freudenberg (New York, JTS Mic 446) from 1732; Haggadah from Darmstadt (New York, JTS Mic 8253) from 1733; Haggadah from Altona (Amsterdam, Rosenthaliana, MS 383) from 1738.
(Translator: Joan Avery)
The Corresponding illustrations, selected by the Center of Jewish Art (Hebrew University, Jerusalem), can be found here: http://phaidra.univie.ac.at/detail_object/o:525994
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CC BY-NC-ND 4.0 International
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Bible Images in Judaism (Prague, 12. 9. 1995)
Siehe:
Jüdische Kunst der Antike http://phaidra.univie.ac.at/detail_object/o:472616
Bilder zur Bibel im Judentum http://phaidra.univie.ac.at/detail_object/o:472253 show more
Siehe:
Jüdische Kunst der Antike http://phaidra.univie.ac.at/detail_object/o:472616
Bilder zur Bibel im Judentum http://phaidra.univie.ac.at/detail_object/o:472253
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License
CC BY-NC-ND 4.0 International
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Illuminated Prints and Bible Prints of Artistic Interest
Two Parts:
1) Overview of the difficulties early Hebrew book printing met with in the different European regions
2) Illuminated Manuscripts from the Baroque period http://phaidra.univie.ac.at/detail_object/o:474484
Part 1: Overview of the... show more
Two Parts:
1) Overview of the difficulties early Hebrew book printing met with in the different European regions
2) Illuminated Manuscripts from the Baroque period http://phaidra.univie.ac.at/detail_object/o:474484
Part 1: Overview of the difficulties with early Hebrew book printing
In what is now Germany it was not allowed to establish Jewish printing workshops
The earliest workshops were set up in Italy: Reggio Calabria (1475); Piove di Sacco (1475); Mantua (1476-77)
The craft of Hebrew printing arose out of the scribe’s craft
Soncino Family: from Soncino near Cremona: the first completely printed Hebrew Bible (1485-88); the halakhic works. Wood cut frames as decoration
Moses dal Castellazzo: The portrait painter of the Sforza family in Milan and Gonzaga family in Mantua produces a block book picture Bible, of which only fragments have survived, along with a manuscript copy. The picture templates are from Christian picture Bibles, Jewish manuscripts and early Christian prints.
Two printed Haggadot with wood cut pictures from the 16th century have been preserved: The Prague Haggadah, 1526; Mantua Haggadah, 1560, followed by the Venetian Haggadah in the early 17th century (1609) and the Amsterdam Haggadah with copper engraving in 1695, using a series of images from Matthew of Merian as models.
Part 2: Illuminated Manuscripts from the Baroque Period http://phaidra.univie.ac.at/detail_object/o:474484
(Translator: Joan Avery)
The Corresponding illustrations, selected by the Center of Jewish Art (Hebrew University, Jerusalem), can be found here: http://phaidra.univie.ac.at/detail_object/o:525993
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License
CC BY-NC-ND 4.0 International
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Spanish Book Illumination (Graz 1993)
One of the main foci of Kurt and Ursula Schubert’s methodology is the attempt to create links between medieval and late antique Jewish figurative art. Figurative art was cultivated in Judaism between the third and seventh centuries and then again... show more
One of the main foci of Kurt and Ursula Schubert’s methodology is the attempt to create links between medieval and late antique Jewish figurative art. Figurative art was cultivated in Judaism between the third and seventh centuries and then again only from the 13th century on, in Iberia from about 1300. Observations on the influence of the Midrashim on Christian art were used in order to bridge the period between the 7th and the 13th century. This method is based on the so-called ‘Recension Theory’, which was developed in the 1940s by Kurt Weitzmann.
The lecture begins with a short discussion of some late antique examples, as well as with short observations on the following phase of iconophobia.
Many medieval Sephardi Bibles show double or more pages of representations of the temple objects: Parma-Bible, (MS Parm 2668), Toledo, 1277; Paris (BnF, cod. Hébr. 7), Perpignan, 1299; London (BL, MS Kings 1), Solsona, 1388.
Figurative representations are seldom to be found in Sephardi Bibles. One exception is the so-called Cervera Bible (Lisbon, Biblioteca Nacional, MS Il. 72), Cervera, 1299. Here there is a picture of Jonah being thrown into the sea; Zachary’s vision of the Menorah; the painter’s colophon.
In 1476 the Cervera Bible served as a model for the illumination of another Bible, the so-called First Kennicott Bible in Oxford (Bodl., MS Kenn.1). In this Bible several models were used, such as the motif of playing cards, which had been popular in Europe since the 14th and 15th century; the world turned upside-down (cats and mice war)
The Passover Haggadot were endowed with rich figurative artistic decorations: the Golden Haggadah (London, BL, MS Add, 27219), Catalonia, circa 1320 with extensive cycles of images from the story of Genesis and Exodus; a further Haggadah in London (BL, MS Or. 2884); the Sarajevo Haggadah (National Museum of Bosnia and Herzegovina).
Christian picture Bibles and psalter manuscripts serve as pictorial models for these cycles
In London there is another Haggadah (BL, MS Add. 14761), which falls out of the pattern, as it contains relatively few Bible illustrations, yet has a whole series of text-related margin illustrations, mainly of ritualistic content.
Copenhagen, More Nevukhim of Maimonides (Königl. Bibliothek, cod, heb. 37), Barcelona 1348 with some figurative representations at the beginning of the books)
In 1391 a huge wave of persecution of the Jews in the whole of Iberia took place followed in 1492 and 1496 by their expulsion. These crises mean that only very few fully illuminated manuscripts from the 15th century have survived. The First Kennicott Bible is one of the few exceptions.
(Translator: Joan Avery)
The Corresponding illustrations, selected by the Center of Jewish Art (Hebrew University, Jerusalem), can be found here: http://phaidra.univie.ac.at/detail_object/o:525992
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License
CC BY-NC-ND 4.0 International
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Jewish Figural Art from the 3d to the 18th century (Graz, 1992)
Siehe:
Bilder zur Bibel im Judentum http://phaidra.univie.ac.at/detail_object/o:472253 show more
Siehe:
Bilder zur Bibel im Judentum http://phaidra.univie.ac.at/detail_object/o:472253
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License
CC BY-NC-ND 4.0 International
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The Problem of Models for Medieval Jewish book Illumination (Salzburg, 1981)
Siehe:
Christlich-jüdische Begegnungen in der Kunst http://phaidra.univie.ac.at/detail_object/o:472218
Bilder zur Bibel im Judentum http://phaidra.univie.ac.at/detail_object/o:472253
Einfluss der jüdischen Malerei auf die frühchristliche Kunst ... show more
Siehe:
Christlich-jüdische Begegnungen in der Kunst http://phaidra.univie.ac.at/detail_object/o:472218
Bilder zur Bibel im Judentum http://phaidra.univie.ac.at/detail_object/o:472253
Einfluss der jüdischen Malerei auf die frühchristliche Kunst http://phaidra.univie.ac.at/detail_object/o:472308
Der Beitrag der Judaistik zur Erforschung der frühchristlichen Kunst http://phaidra.univie.ac.at/detail_object/o:472342
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License
CC BY-NC-ND 4.0 International
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Jewish Symbolism in art (Salzburg, Hungary, 1988) Christian-Jewish Encounters in art (Eisenstadt, 1987) Jewish Art in Antiquity and its significance for early Christian art (Bavaria, 1990)
Detailed discussion of the biblical prohibition to create images in its various historical contexts. Starting from the biblical prohibition the lecture discusses Jewish visual culture against the background of the biblical approach.
Representations... show more
Detailed discussion of the biblical prohibition to create images in its various historical contexts. Starting from the biblical prohibition the lecture discusses Jewish visual culture against the background of the biblical approach.
Representations already existed in the monuments built by Solomon (the lion sculptures, iron lake with 12 cattle)
Contact with the pagan surroundings after the Babylonian exile (587 BC) led to an increased interest in their visual culture
In the Roman empire the question becomes particularly acute (Caligula demands a placement of a statue of the emperor in the temple area; this order, in particular the Jewish reaction to it is documented by Josephus Flavius).
In the context of the Greek-Roman culture, the Rabbinic authorities are seen as hostile towards images, whereas the elders of the synagogue are sympathetic. Polemics since the 2nd century AD as can be seen in Mekhilta de R. Yishmael (Ex. 20:23); Abhoda zara 3:1. From the third century onwards Rabbis are faced with this situation. (R. Johanan bar Nappaha in Jer. Abhoda zara 3:3)
Idea of the In-Dwelling of God after the destruction of the temple to be found in the synagogues (Jer. Berakhot 5 8d, Bab. Megilla 29a): leads to the understanding that the Synagogue is no longer only a place to meet, but also a ‘holy space’ (inscriptions in Stobi, Tiberias, Gerasa and Na’aran).
Dura Europos: Introduction with detailed analysis of the founder’s inscription, from which it becomes clear that the ‘presbyter’ of the Jewish community, Samuel bar Yedaya commissioned for the murals.
Murals in the direct surroundings of the Torah shrine: temple topic; comparison with Tetradachma (Bar-Kokhba uprising, 132), Juxtaposition of the binding of Isaac, which according to Jewish tradition took place on the temple mountain (which can be equated with Mount Moriah). The central position of the temple theme is a clear indication of the understanding of the synagogue as a ‘holy place’.
Destroyed murals above the Torah shrine. During the excavations these were still visible. Three different layers of paintings in this field point to the fact that the design kept changing during the eleven years of the synagogue’s existence of the painted synagogue. The lowest level: Torah as the tree of life, middle layer: Messianic Ruler figure (based on Gen. 49, Jacob blesses the 12 tribes and Jacob blesses Josef’s sons). This programme appears in between two representations of the Theophany: Moses at the burning bush and Moses on Mount Sinai. These pictures, together with the compositions in the middle pannel result in a Theophany programme, of which there are similar versions in the presbytery of San Vitale in Ravenna and in the basilica of Saint Katharine on Sinai. Schubert assumes that this programme was conceived of in a Jewish context.
Iconography of the other walls reflects many midrashim: methodological debate with the influence of the midrashim on Jewish and Christian iconography (see above left).
This lecture is partly based on earlier works:
Christian-Jewish encounters in art (Eisenstadt) http://phaidra.univie.ac.at/detail_object/o:472218
Influence of Jewish painting on early Christian art http://phaidra.univie.ac.at/detail_object/o:472308
The Contribution of Jewish Studies to the Research of Early Christian Art (the significance of Jewish Sources for Early Christian Iconography).http://phaidra.univie.ac.at/detail_object/o:472342
the summary takes into account only the main extensions of topics discussed in other lectures.
(Translator: Joan Avery)
The Corresponding illustrations, selected by the Center of Jewish Art (Hebrew University, Jerusalem), can be found here: http://phaidra.univie.ac.at/detail_object/o:525991
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CC BY-NC-ND 4.0 International
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Illuminated Manuscripts and Jewish Artists (Joseftaler Pastoral Care week, Bavaria 1990)
Short overview of the approaches to Jewish pictorial art in late Antiquity: monumental art in the Middle East
6th Century: Sudden breaking off of figurative painting, related to a new “national” awareness (giving up the Greek language in favour of... show more
Short overview of the approaches to Jewish pictorial art in late Antiquity: monumental art in the Middle East
6th Century: Sudden breaking off of figurative painting, related to a new “national” awareness (giving up the Greek language in favour of Hebrew in the religious service); Reverting back to the Biblical prohibition of images, as well as the destruction of artistic evidence. Additionally, Islam’s hostility towards images also affects the Jewish culture.
New approaches follow in the 13th century in the West, where a rich tradition of book art exists. This was primarily exercised in convents, with a shift towards urban lay workshops occurring in around 1200.
Jewish interest in manuscript painting repeatedly meets with criticism from Rabbinic authorities. Joseph the Zealot (Hameqanne), France, mid 13th century. His interpretation of the prohibition of images may have contributed to the fact that in Jewish art animal heads often replaced human ones, or that the faces were covered (only in the region of what is now Germany).
Among the earliest evidence of Ashkenazi book art one can find the Ashkenazi Bible in the Biblioteca Ambrosiana (see lecture Bible Images in Judaism): Genesis Initials/the Fall): Adam and Eva are seen with covered faces, and from behind. At the end of the Pentateuch there are more detailed representations of the Book of Ruth, as well as of the Just at the last meal (eating of the Messianic animals Behemot, Leviathan and Zit corresponds to the alphabet of the Rabbi Aqiba) and finally a picture of the seven heavenly spheres with the four creatures from the book Ezekiel (corresponds to the imagery of late antiquity Merkabah literature.
Rashi Commentary in Munich: the oldest dated manuscript with illustrations, Würzburg 1233 (visit of the three angels to Abraham), the iconography of this Rashi commentary is a typical, as otherwise only sketches of the temple plan are to be found in these texts.
In Iberia on the other hand, figural representations were almost completely abstained from, probably under the influence of Islamic culture. The so-called Cervera Bible (Lisbon) 1299-1300 is an exception. Its illuminator is named in a colophon of his own: Josef the French: Zacharia’s vision in an unusual representation: Jonas’s ship journey (with human figures).
During the 15th century the Cervera Bible was preserved in La Coruña, Galicia, where in 1476 it was used as a model for the making of the first Kennikott Bible. This was illuminated by Josef, ibn Chayyim.
Passover Haggadot are known both in the Ashkenazi and in the Sephardi traditions. The earliest Ashkenazi Bible comes from around 1300 from Southern Germany, perhaps Würzburg and is known as the Bird’s Head Haggadah (Israel Museum), see lectures Jewish Book Illumination in Germany, slide 1, 2, 3. In the Ashkenazi Haggadot illustrations appear unframed and in the margins.
In the Sephardi Haggadot however, there is a continuous biblical cycle, which does not directly connect to the Haggada text: Golden Haggadah (British Library); the Bible scenes are sometimes enriched with elements from commentary literature (Midrash) (the story of Noah, the tower of Babel with a representation of the builders killing each other, a legend originating in the Genesis Rabba, Abraham in the fiery furnace.
Coburg Pentateuch from Coburg, first half of the 15th century. At the end of the book of Leviticus there is the image of a teacher and his student within an intricate architectural setting. This is the oldest representation of the Coburg Fortress.
The most interesting scribe and painter to be known by name was Joel ben Simeon, originally from the Rhineland, who moved to Italy in the middle of the century. His life story can be reconstructed with the help of about twenty manuscripts, among which there are particularly many Haggadot. Of special interest is the so-called London Haggada (BL, Add. 14762) from around 1460. The departure of the children of Israel from Egypt and their persecution by the Pharaoh’s army clearly shows how much Joel had adopted the style of Italian painting.
Contemplating Joel’s work leads us to early modern book printing. Of particular interest is the signed copy of a picture Bible with woodcuts for the whole Pentateuch. The original has not been preserved, but can be ascribed to the Venetian artist Moses dal Castellazzo. Dal Castellazzo used a great variety of models of both Christian and Jewish origin. Many of his pictures use Jewish legends.
The oldest Ashkenazi Passover Haggada was printed in 1526 in Prague by Gerschon Kohen. It was followed by the so-called Mantua Haggada in 1560 and the Venetian Haggada in 1609. In the 17th century the Amsterdam Haggada was printed, the city becoming a new centre for Jewish book printing. Whereas the older printed Haggadot were endowed with woodcuts, the Amsterdam Haggada now had a series of copper engravings. It was produced by a convert, a former priest, who used the models by Matthew Merian.
In the 18th century a new tradition arose of handwritten and painted Passover Haggadot commissioned by court Jews. The writers and painters came mainly from Vienna and Moravia. Among the most important were Josef ben David from Leibnitz, who was able to gain a large clientele from the many German cities. Echoes of this tradition can be followed all the way up to to Northern Germany, to Altona.
(Translator: Joan Avery)
The Corresponding illustrations, selected by the Center of Jewish Art (Hebrew University, Jerusalem), can be found here: http://phaidra.univie.ac.at/detail_object/o:525990
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License
CC BY-NC-ND 4.0 International
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