Kurt und Ursula Schubert Archiv
Objects found (161)
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
show less
show less
License
CC BY-NC-ND 4.0 International
show more
show less
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
show less
show less
License
CC BY-NC-ND 4.0 International
show more
show less
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
show less
show less
License
CC BY-NC-ND 4.0 International
show more
show less
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
show less
show less
License
CC BY-NC-ND 4.0 International
show more
show less
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
show less
show less
License
CC BY-NC-ND 4.0 International
show more
show less
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
show less
show less
License
CC BY-NC-ND 4.0 International
show more
show less
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
show less
show less
License
CC BY-NC-ND 4.0 International
show more
show less
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)
show less
show less
License
CC BY-NC-ND 4.0 International
show more
show less
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
show less
show less
License
CC BY-NC-ND 4.0 International
show more
show less
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
show less
show less
License
CC BY-NC-ND 4.0 International
show more
show less
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
show less
show less
License
CC BY-NC-ND 4.0 International
show more
show less
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
show less
show less
License
CC BY-NC-ND 4.0 International
show more
show less
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
show less
show less
License
CC BY-NC-ND 4.0 International
show more
show less
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
show less
show less
License
CC BY-NC-ND 4.0 International
show more
show less
Jewish Christian Encounter in Art (Israel 1987, Amerika 1989, Spanien 1990) – Teil 2
See: Christian-Jewish Encounters in art. http://phaidra.univie.ac.at/detail_object/o:472218
Ashkenazi Mahzorim: Representations of the couple from the Song of Songs (Leipzig Mahzor) – compared to the Gothic images of the veiled personification of... show more
See: Christian-Jewish Encounters in art. http://phaidra.univie.ac.at/detail_object/o:472218
Ashkenazi Mahzorim: Representations of the couple from the Song of Songs (Leipzig Mahzor) – compared to the Gothic images of the veiled personification of the Synagoga (Strasbourg)
Carolingian Bibles, 9th c. Grandval Bible, London; Vivian Bible (Second Bible of Charles the Bald), Paris; Bible in San Paolo fuori le mura- Moses on Mount Sinai and the reading of the law. The reading takes place in a temple-like building. This can be linked to the Rabbinic 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:526505
show less
show less
License
CC BY-NC-ND 4.0 International
show more
show less
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
show less
show less
License
BY-NC-ND 3.0 Unported
show more
show less
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
show less
show less
License
CC BY-NC-ND 4.0 International
show more
show less
o:475119 Jewish Art in Late Antiquity
Jewish Art in Late Antiquity
Siehe:
Jüdische Kunst der Antike https://phaidra.univie.ac.at/detail_object/o:472616?q=o%3A472616&page=1&pagesize=10
Jüdische Symbolik in der Kunst https://phaidra.univie.ac.at/detail_object/o:472713?q=o%3A472713&page=1&pagesize=10
The... show more
Siehe:
Jüdische Kunst der Antike https://phaidra.univie.ac.at/detail_object/o:472616?q=o%3A472616&page=1&pagesize=10
Jüdische Symbolik in der Kunst https://phaidra.univie.ac.at/detail_object/o:472713?q=o%3A472713&page=1&pagesize=10
The Continuation of Ancient Jewish Art in the Middle Ages https://phaidra.univie.ac.at/detail_object/o:475054?q=o%3A475054&page=1&pagesize=10
Das Problem einer jüdischen Kunst https://phaidra.univie.ac.at/detail_object/o:475084?q=o%3A475084&page=1&pagesize=10
show less
show less
License
CC BY-NC-ND 4.0 International
show more
show less
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
show less
show less
License
CC BY-NC-ND 4.0 International
show more
show less
No Results