Kurt und Ursula Schubert Archiv
Objects found (373)
The Austrian Academy of Sciences pays Tribute to Kurt Schubert on his 80th Birthday
The Austrian Academy of Sciences paid special tribute to Professor Kurt Schubert on the occasion of his 80th birthday on 4 March 2003. show more
The Austrian Academy of Sciences paid special tribute to Professor Kurt Schubert on the occasion of his 80th birthday on 4 March 2003.
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CC BY-NC-ND 4.0 International
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The Bible in the Christian-Jewish Polemics of the Middle Ages and the Christian-Jewish Dialogue today
Here, Professor Kurt Schubert uses keywords to draw parallels between Christian and Jewish history in the modern age and the Middle Ages with the aid of many text examples. show more
Here, Professor Kurt Schubert uses keywords to draw parallels between Christian and Jewish history in the modern age and the Middle Ages with the aid of many text examples.
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CC BY-NC-ND 4.0 International
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The Concept of God in Medieval Jewish Philosophy of Religion
This short collection of Professor Kurt Schubert’s keywords puts some of the representatives and concepts of medieval philosophy of religion into context. show more
This short collection of Professor Kurt Schubert’s keywords puts some of the representatives and concepts of medieval philosophy of religion into context.
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CC BY-NC-ND 4.0 International
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The Continuation of Ancient Jewish Art in the Middle Ages
Outline of Jewish Art in Late Antiquity, prohibition of images, Jewish figurative art until the 6th century:
Christian-Jewish encounters in art (Eisenstadt) http://phaidra.univie.ac.at/detail_object/o:472218
Influence of Jewish painting on early... show more
Outline of Jewish Art in Late Antiquity, prohibition of images, Jewish figurative art until the 6th century:
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
Jewish Art in Antiquity (Basel 1983) http://phaidra.univie.ac.at/detail_object/o:472616
Schubert did not exclude the possibility of Jewish figurative art in the Latin West of the early Middle Ages, and assumed that Hebrew manuscripts, which have not been preserved, may have existed (book burnings in Paris in the 1240s)
Yet there were also numerous Jewish voices against Jewish figurative art (Joseph Hameqanne)
The methods used in support of the assumed continuity from late antiquity to the Middle Ages deal with Christian works of art displaying elements borrowed from late antique Jewish art, which then recur in the Jewish art of the Middle Ages. These Christian works can therefore be seen as a bridge between the Jewish art of Late Antiquity and that of the Middle Ages.
There are Christian works of art containing Midrash elements in their iconography. When these elements are unknown in Christian exegesis, one can assume that the Christian works of art refer to earlier Jewish models.
The lecture therefore tries to establish a chain of tradition between the murals of the Dura Europos Synagogue and other Late Antiquity pictorial evidence using specific Christian medieval depictions and medieval Hebrew manuscripts.
Example 1: Childhood story of Moses – Dura Europos, Ashburnham Pentateuch, Byzantine Octateuchs, Pierpont Morgen Picture Bible, Golden Haggadah (for instance: Pharaoh’s daughter discovers the infant instead of one of the maids)
Example 2: Exodus from Egypt – Dura Europos, Ashburnham Pentateuch, Sarajevo Haggadah, Golden Haggadah, British Library, Or. 2884, Or. 2737 (for instance city architecture for Egypt, arming of the Israelites)
Story of Joseph: Joseph being sold to the Ishmaelite traders and depiction of his brothers having a meal, when the tradesmen arrive (Midrash) – San Marco in Venice, Paris, BnF gr. 510, Homilies of Gregory of Nazianzus, Haggadah, British Library, Or. 2884
Story of Joseph: Potiphar’s wife seduces Joseph while seated in her bed, pretending to be ill: Vienna Genesis, Golden Haggadah, British Library, Or. 2884.
Haggadah, Or. 2884: Creation of Adam – related to the Cotton Genesis tradition (Millstadt Genesis), yet no longer correctly understood. Similar understanding of the revivification in the Ezekiel cycle of Dura Europos.
(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:526510
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The Contribution of Jewish Studies to the Research of Early Christian Art (the significance of Jewish Sources for Early Christian Iconography).
Otto Pächt (The Rise of Narrative in Twelfth Century England) indicates that there was no tradition of extensive New Testament picture cycles until the 12th century.
Sarcophagus with Representations of Jesus’ miracles, the Passion Sarcophagus,... show more
Otto Pächt (The Rise of Narrative in Twelfth Century England) indicates that there was no tradition of extensive New Testament picture cycles until the 12th century.
Sarcophagus with Representations of Jesus’ miracles, the Passion Sarcophagus, Rabbula Gospel
However, extensive picture cycles relating to the Old Testament can be found in early Christian art: Callixtus Catacombs of the 3rd century, the Jonah Cycle; the catacomb at the Via Latina, 4th century, Vienna Genesis, Byzantium; Cotton Genesis, Egypt 5th century: a continuation of this tradition followed in the mid Byzantine Octateuch manuscripts, 11 and 12th century; the Old English Aelfric Paraphrase, 11th century, Caedmon Paraphrase, Oxford, 10th century.
In Judaism pictorial narratives can already be found in the 3rd century in the Synagogue of Dura Europos.
Image in the Synagogue of Dura Europos 244 A.D. of infant Moses being hidden and discovered.
Thoughts about the roots of Jewish art: inscriptions in the paintings are both in Aramaic and in Greek; Rabbinic influence is clearly visible, assuming that these themes go back to the Jewish book art of an earlier period.
A further argument for the existence of such late Antique Jewish book art is the fact that in early Christian and medieval art there are many cases where iconography can be interpreted with the help of Rabbinic Bible exegesis, or Midrash literature.
Samuel’s anointing of David, Dura Europos Synagogue; Sacra Parallela Manuscript, Palestine 7th century, Vatopaidi Psalter after 1088. In this case Rabbinic exegesis does not shape the interpretation, yet the parallels between late Christian and early Jewish versions still makes an affinity plausible.
A similar situation results from the representation of Noah’s Ark in the catacombs at the Via Latina. This varies from the familiar representation in catacomb iconography and shows Noah together with his wife. An analogous representation can be seen on a coin from Apamea, 193-253, where the scene runs from right to left.
Influence of Rabbinic exegesis in the catacombs of the Via Latina can be seen in the representation of Abraham welcoming the three angels in Mamre: [link: Christian-Jewish Encounters in Art http://phaidra.univie.ac.at/detail_object/o:472218], compared to Christian examples not influenced by Midrash literature: Santa Maria Maggiore, Rome, 432-36, San Vitale, Ravenna, beginning of the 6th century.
The iconography of Abraham, as influenced by the Rabbinic tradition, can also be seen on the sarcophagus in the Callixtus catacomb from the 3rd century as well as on the 12th century tapestry in the Halberstadt Cathedral treasure.
Catacomb at the Via Latina, expulsion of Adam and Eve from paradise with later parallels in the Creation Dome of San Marco in Venice, 13th century, related to the early Christian Cotton Genesis of 5th century Egypt; the Vienna Genesis, the St. Albans Psalter, England 12th century (Pächt), Farfa Bible, Ripoll, 12th century, Hortus Deliciarum, Herrad of Landsberg, Alsace, 11th century; Millstadt Genesis, 12th century; possibly a representation of the Shekhina (in-dwelling of the Godhead); the Fiery Wheel; Cherubs.
The story of Joseph in the Vienna Genesis: Joseph and the wife of Potifar. This representation contains many non-Biblical elements (reference to Levin, Revel Neher, Gutmann). Some of these have parallels in the frescoes in the church of San Paolo fuori le Mura (only the copies of which are preserved). In both images one can see Potifar’s wife in bed, which goes back to Rabbinic tradition.
In the Vienna Genesis the rest of the story of Joseph is also based on non-Biblical Jewish tradition, particularly the episodes of Aseneth.
Octateuch iconography (vat. gr.746): illustration of the Fall with a four-legged snake looking like a camel. This detail can also be ascribed to Jewish tradition and is perhaps based on a late Antiquity Jewish model (Weitzmann).
Summary: it is now impossible to gauge to what extent the Christian illustrations were created in accordance with transmitted Jewish models, or how much they were new creations, mixed with various Jewish elements to become novel compositions. For late antique Jewish painting was also shaped by the Hellenistic painting tradition.
(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:524558
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o:444053 The Empty Grave
The Empty Grave
These notes are for a lecture Professor Kurt Schubert gave to the KAVW in Vienna on 10 March 1972, discussing the resurrection of Jesus. show more
These notes are for a lecture Professor Kurt Schubert gave to the KAVW in Vienna on 10 March 1972, discussing the resurrection of Jesus.
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CC BY-NC-ND 4.0 International
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o:440456 The God Question after Auschwitz
The God Question after Auschwitz
In note form Professor Kurt Schubert addresses the topic of the existence of God within Judaism, using a historical overview with text samples from Antiquity, Rabbinic and medieval texts. show more
In note form Professor Kurt Schubert addresses the topic of the existence of God within Judaism, using a historical overview with text samples from Antiquity, Rabbinic and medieval texts.
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CC BY-NC-ND 4.0 International
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The God of Abraham: A Provocation for the Peoples
These are notes for a lecture in which the covenant of Abraham and its reception in other religions is discussed. Professor Kurt Schubert had attached two pages of Flavius Josephus’s Antiquities of the Jews, not uploaded to the E-book however. show more
These are notes for a lecture in which the covenant of Abraham and its reception in other religions is discussed. Professor Kurt Schubert had attached two pages of Flavius Josephus’s Antiquities of the Jews, not uploaded to the E-book however.
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CC BY-NC-ND 4.0 International
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The God of Israel and His Chosen Ones, Messiah, Eschatology, Resurrection
Professor Kurt Schubert deals with two topics in these notes, analysing them with the use of Biblical texts. show more
Professor Kurt Schubert deals with two topics in these notes, analysing them with the use of Biblical texts.
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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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CC BY-NC-ND 4.0 International
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The Historical Jesus and today’s Church
Professor Kurt Schubert analyses various New Testament passages and in note form summarises some of the most important aspects of Jesus’s teaching. show more
Professor Kurt Schubert analyses various New Testament passages and in note form summarises some of the most important aspects of Jesus’s teaching.
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CC BY-NC-ND 4.0 International
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The Image of Christ in the First Centuries
Initial reservation in early Christianity towards artistic representation
Absorption of Greek-Roman image motifs, pictorial motifs which were understandable for the late Antique Roman population and were transferred onto Christian themes: one... show more
Initial reservation in early Christianity towards artistic representation
Absorption of Greek-Roman image motifs, pictorial motifs which were understandable for the late Antique Roman population and were transferred onto Christian themes: one example is the iconography of Orpheus, familiar from the Roman culture as a figure of salvation. Clemens of Alexandria compares him to Christ (Orpheus Sarcophagus)
Philosopher figures were transferred onto apostles and finally onto Christ himself (christus kynicus). Christian scholars argued with concepts of Greek-Roman philosophy (Sarcophagus from Santa Maria Antiqua). This idea also leads to the motif of Christ as young teacher (closing grave panel from Rome, ceiling in the catacomb of Santi Pietro e Marcellino)
Parable of the good shepherd in the gospel of Saint John, also known in Roman culture (Sarcophagus of Velletri, Catacomb of Santi Pietro e Marcellino, Catacomb of Priscilla, the so-called Mausoleum of Galla Placida, House Church in Dura Europos)
Christ as the sol invictus – ceiling mosaic in a grave chamber in Saint Peter – imperial features are transferred onto the image of Christ
Pagan victory ideology turns into a theology of Christian victory (Christus monogramme in coins of Constantine the Great; the so-called Passion Sarcophagus )
It is from this connection that an early Christian image of Christ emerges, at least as seen in the reliefs of the sarcophagus of Junius Bassus (died in 359): entry to Jerusalem is influenced by depictions of the adventus of Roman emperors.
Vita Christi narratives emerge first in the 4th century (sarcophagus from Servannes)
Depictions of divine intervention through the hand of God (Dura Europos, Constantine consecration coins)
Santa Sabina – Wooden doors (5th century): Ascension, Rabbula Gospels Ascension (6th c.) – follows Roman Apotheosis depictions
Mary with child – emphasises the incarnation. Late Antique and Byzantine often links the incarnation (Jesus as man) with the ascension (Christ as God): Apse in Parenzo, Istria, 6th century
Santa Pudenziana (Apse), Rome, beginning of the 5th century: eschatological Jerusalem with the central Christ figure surrounded by apostles and a crux gemmata in heaven
(Translator: Joan Avery)
The Corresponding illustrations, selected by the Center of Jewish Art (Hebrew University, Jerusalem), can be found here: https://phaidra.univie.ac.at/detail_object/o:526512
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License
CC BY-NC-ND 4.0 International
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The Importance of Jewish Studies within the Humanities
Professor Kurt Schubert outlines the university subject of Jewish Studies and quotes several texts to show the methodology and importance of this discipline. show more
Professor Kurt Schubert outlines the university subject of Jewish Studies and quotes several texts to show the methodology and importance of this discipline.
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CC BY-NC-ND 4.0 International
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The Importance of Maimonides for High Scholasticism
In a few keywords Professor Kurt Schubert’s material analyses the relationship between Maimonides and High Scholasticism. He also addresses Thomas of Aquinas. show more
In a few keywords Professor Kurt Schubert’s material analyses the relationship between Maimonides and High Scholasticism. He also addresses Thomas of Aquinas.
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CC BY-NC-ND 4.0 International
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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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CC BY-NC-ND 4.0 International
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The Main Holy Days in Medieval Ashkenazi Mahzorim illustrations
Responsum of Meir von Rothenburg (died 1293) deals with the possibility of illustrations in prayer books and does not approve, as they distract worshippers from prayer.
The Mahzorim illustrations of the 13 and 14th centuries refer to the liturgical... show more
Responsum of Meir von Rothenburg (died 1293) deals with the possibility of illustrations in prayer books and does not approve, as they distract worshippers from prayer.
The Mahzorim illustrations of the 13 and 14th centuries refer to the liturgical hymns (piyutim) in these books.
Some of these illustrations are of humans with animal heads, in order to circumvent the prohibition of images.1
Laud Mahzor (Oxford, Bodleian Library): New year, 1st. Tag (melekh – King); 2nd day (Binding of Isaac);
Tripartite Mahzor (Oxford, Bodleian): Yom Kippur: (kol nidre – all vows);
Leipzig Mahzor (Leizpig, University Library): Yom Kippur, Afternoon prayer (Abraham in the fiery furnace of Nimrod) – this image emphasises the strength of Abraham’s faith, which is then the topic in the adjacent piyut
Leipzig Mahzor: Sukkot (Man with lulav and etrog)
Laud Mahzor: Simchat Torah: Man with a Torah roll
(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:525987
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CC BY-NC-ND 4.0 International
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The Meeting of Jewish Culture with the Occident
In this collection Professor Kurt Schubert looks at the Middle Ages, examining the mutual effects of Jewish and Christian art, as well as other aspects of Jewish-Christian relationships during this period. It also offers a definition of Jewish... show more
In this collection Professor Kurt Schubert looks at the Middle Ages, examining the mutual effects of Jewish and Christian art, as well as other aspects of Jewish-Christian relationships during this period. It also offers a definition of Jewish medieval terminology and a historical overview of the period.
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