Kurt und Ursula Schubert Archiv
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o:475243 Kurt und Ursula Schubert Collection
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Objects found (373)
Tschechisches Logo des Kurt und Ursula Schubert Zentrum für Jüdische an der Palacký Universität Olmütz
Hier findet sich die Logos des Kurt und Ursula Schubert Zentrum für Jüdische an der Palacký Universität Olmütz in tschechischer Sprache. show more
Hier findet sich die Logos des Kurt und Ursula Schubert Zentrum für Jüdische an der Palacký Universität Olmütz in tschechischer Sprache.
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o:444463 To Hell with the Devil
To Hell with the Devil
Professor Kurt Schubert’s collection of materials deals with the subject of the devil. The author shows how he is represented in the Tora, the Book of Jubilees and in the New Testament. show more
Professor Kurt Schubert’s collection of materials deals with the subject of the devil. The author shows how he is represented in the Tora, the Book of Jubilees and in the New Testament.
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Three Lectures at the Humboldt University, Berlin
The first lecture broadly corresponds to the lectures that appeared in file "Christian-Jewish Encounters in Art" ( http://phaidra.univie.ac.at/o:472218 and "Bible Images in Judaism" ( http://phaidra.univie.ac.at/detail_object/o:472253 )
The second... show more
The first lecture broadly corresponds to the lectures that appeared in file "Christian-Jewish Encounters in Art" ( http://phaidra.univie.ac.at/o:472218 and "Bible Images in Judaism" ( http://phaidra.univie.ac.at/detail_object/o:472253 )
The second lecture deals with medieval book illumination with special emphasis on figural art
At the beginning of the second lecture there is a short overview of the manuscripts from the Middle East, which had not been dealt with in earlier lectures: Moses ben Asher Codex, 8951 (Cairo, Karaite Synagogue), Salomon Ben Buya Bible, The First Saint Petersburg Bible (‘First Leningrad Bible, Saint Petersburg, Russian National Library). These bibles contain ornamental carpet pages or representations of the temple implements. The latter are similar to illustrations in Christian art, such as the Codex Amiatinus (circa 700) and influence later similar representations in the Sephardi Bibles (Bible from Perpignan, 1299, Paris, Bibliothèque Nationale de France).
The discussion of the Ashkenazi manuscripts corresponds to the lecture mentioned above (Bible Images in Judaism), and also mentions the collection from Northern France (London, British Library).
The iconography of European manuscripts traditions can be traced back to the frescoes of the Dura Europos Synagogue or seen as connecting elements between early Christian art and that of the medieval period in which traces of Jewish interpretation traditions can be discerned (The Influence of Jewish painting on early Christian art), Christian-Jewish encounters in art). Stylistically the artistic examples of Hebrew book illumination are related to their contemporary Christian book illumination.
The creation of Adam in the Sephardi Haggadah, London Or. 2884 can be traced back to the Cotton Genesis Recension (preserved in Venice, San Marco, in the dome of creation, 13th century).
Joseph and the wife of Potiphar, Golden Haggadah can be traced back to a version of the Vienna Genesis and to a motif found in the Midrash.
(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:556126
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The Triumphal Arch at Santa Maria Maggiore: an expression of the papacy’s political claim
Methodological background: the lecture addresses the representations of Jesus’ infancy from the Gospels. Following early Christian practice, the contents were brought in relation with the politics of the day. The Christian content should therefore be... show more
Methodological background: the lecture addresses the representations of Jesus’ infancy from the Gospels. Following early Christian practice, the contents were brought in relation with the politics of the day. The Christian content should therefore be checked against its contemporary political topics.
Short description of the mosaic ornamentation from the 5th century (Triumphal Arch and the walls of the nave). These are from the original construction phase, which according to the no longer existing inscription, occurred during Pope Sixtus’ papacy (432-40). The building of the church dedicated to Mary is linked to the Council of Ephesus, which declared Mary as Theotokos, the Mother of God.
Another inscription on the Triumphal Arch itself refers to Sixtus as the ‘Bishop of God’s People’, which already established a clear connection to the political status of the bishop of Rome.
The order of the Gospel scenes does not correspond to that of the gospel texts themselves. In addition, there are several apocryphal elements to be noted, such as those supporting Mary’s Davidian ancestry, as well as the priestly and double kingly function of the awaited Messiah. This double function is alluded to in the representation of two buildings: those of the house of Levi and Juda. This can be compared with the apse mosaic in the church of Parenzo (Annunciation and Visitation, 6th century, Armenian Gospel book/ Codex from Edshmiazdin, 10th century, the Syrian Rabbula Codex, 6th century). From an earlier drawing that was exposed during restoration works on the apse, one can see that the annunciation to Zacharias might have been the original plan, which would re-inforce the priestly ancestry of Mary’s family.
In the first nave mosaic (adjacent to the Triumphal Arch) the subject is also priesthood as seen in the meeting of Melchisedek with Abraham.
This line of thought is continued in the presentation of Jesus in the temple. Here one sees a representative of the priesthood stretching his right hand out to a matron, suggesting marriage, thus alluding to Jesus’ covenant with the church, to which Ambrosius often referred. The temple’s architecture carries features of the Roman temple, Rome’s national shrine. One of the priests is seen with the traditional physiognomy of Peter, thus a clear reference to the papacy.
(Translator: Joan Avery)
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CC BY-NC-ND 4.0 International
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The Triumphal Arch at Santa Maria Maggiore: an expression of the papacy’s political claim
Methodological background: the lecture addresses the representations of Jesus’ infancy from the Gospels. Following early Christian practice, the contents were brought in relation with the politics of the day. The Christian content should therefore be... show more
Methodological background: the lecture addresses the representations of Jesus’ infancy from the Gospels. Following early Christian practice, the contents were brought in relation with the politics of the day. The Christian content should therefore be checked against its contemporary political topics.
Short description of the mosaic ornamentation from the 5th century (Triumphal Arch and the walls of the nave). These are from the original construction phase, which according to the no longer existing inscription, occurred during Pope Sixtus’ papacy (432-40). The building of the church dedicated to Mary is linked to the Council of Ephesus, which declared Mary as Theotokos, the Mother of God.
Another inscription on the Triumphal Arch itself refers to Sixtus as the ‘Bishop of God’s People’, which already established a clear connection to the political status of the bishop of Rome.
The order of the Gospel scenes does not correspond to that of the gospel texts themselves. In addition, there are several apocryphal elements to be noted, such as those supporting Mary’s Davidian ancestry, as well as the priestly and double kingly function of the awaited Messiah. This double function is alluded to in the representation of two buildings: those of the house of Levi and Juda. This can be compared with the apse mosaic in the church of Parenzo (Annunciation and Visitation, 6th century, Armenian Gospel book/ Codex from Edshmiazdin, 10th century, the Syrian Rabbula Codex, 6th century). From an earlier drawing that was exposed during restoration works on the apse, one can see that the annunciation to Zacharias might have been the original plan, which would re-inforce the priestly ancestry of Mary’s family.
In the first nave mosaic (adjacent to the Triumphal Arch) the subject is also priesthood as seen in the meeting of Melchisedek with Abraham.
This line of thought is continued in the presentation of Jesus in the temple. Here one sees a representative of the priesthood stretching his right hand out to a matron, suggesting marriage, thus alluding to Jesus’ covenant with the church, to which Ambrosius often referred. The temple’s architecture carries features of the Roman temple, Rome’s national shrine. One of the priests is seen with the traditional physiognomy of Peter, thus a clear reference to the papacy.
(Translator: Joan Avery)
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CC BY-NC-ND 4.0 International
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The Synagogue: From a Meeting Place to a Place of Cult
These notes were used by Professor Kurt Schubert for a lecture given on 12 October 1976, as well as for an article in the Kairos Review 17, 1976, p. 228-235. In the notes the author looks at the various functions of the synagogue. show more
These notes were used by Professor Kurt Schubert for a lecture given on 12 October 1976, as well as for an article in the Kairos Review 17, 1976, p. 228-235. In the notes the author looks at the various functions of the synagogue.
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CC BY-NC-ND 4.0 International
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o:444155 The Resurrection of Jesus
The Resurrection of Jesus
These notes are for a lecture Professor Kurt Schubert gave in Wiener Neustadt on 13 May 1970. The subject matter can be found in similar words in Bibel und Lithurgie 43 (1970), p. 25-37. Additionally, there is a collection of materials about the... show more
These notes are for a lecture Professor Kurt Schubert gave in Wiener Neustadt on 13 May 1970. The subject matter can be found in similar words in Bibel und Lithurgie 43 (1970), p. 25-37. Additionally, there is a collection of materials about the resurrection of Jesus to be found in this E-book.
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The Problem with calling art ‘Jewish’
Prohibition of Images https://phaidra.univie.ac.at/detail_object/o:474453
Catacomb painting in Rome (Villa Torlonia): Christian catacombs compared to Jewish ones. Central to both is the concept of the end of times. In the Jewish catacombs it is... show more
Prohibition of Images https://phaidra.univie.ac.at/detail_object/o:474453
Catacomb painting in Rome (Villa Torlonia): Christian catacombs compared to Jewish ones. Central to both is the concept of the end of times. In the Jewish catacombs it is expressed by the iconography of the temple objects.
Murals in the Synagogue of Dura Europos: discovery story- the strengthening of the Roman city wall as protection from an Sassanid attack, enabled the paintings to be preserved.
Artistic features of the Torah shrine in the Dura Europos Synagogue and the surrounding murals ( https://phaidra.univie.ac.at/detail_object/o:472713)
Mosaic floors of the Beth Alpha Synagogue
Moses Scenes in the Dura Europos Synagogue (http://phaidra.univie.ac.at/detail_object/o:472308)
Influence of Jewish themes on Christian art and the beginning of a link to the Sephardi Haggadot (http://phaidra.univie.ac.at/detail_object/o:475054)
(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:526511
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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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o:441924 The Path to the Historical Jesus
The Path to the Historical Jesus
In this collection of notes Professor Kurt Schubert discusses various sources for the figure of Jesus. His line of argument mainly deals with the New Testament. show more
In this collection of notes Professor Kurt Schubert discusses various sources for the figure of Jesus. His line of argument mainly deals with the New Testament.
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License
CC BY-NC-ND 4.0 International
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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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License
CC BY-NC-ND 4.0 International
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The New Image in the Gospels: the Question of the Historical Jesus
In this material Professor Kurt Schubert deals with some of the questions about the figure of Jesus and its historicity. show more
In this material Professor Kurt Schubert deals with some of the questions about the figure of Jesus and its historicity.
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License
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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License
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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License
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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License
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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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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License
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 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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License
CC BY-NC-ND 4.0 International
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