Kurt und Ursula Schubert Archiv
Objects found (161)
Concept for a Virtual Museum of Professor Kurt Schubert’s Jewish History as the Site of Jewish Identity
This position paper by Dr. Bernhard Dolna contains the concept of a virtual exhibition, which was not implemented however. At its heart would be Professor Kurt Schubert’s work: Jewish History as the Site of Jewish Identity. Note: manuscript in the... show more
This position paper by Dr. Bernhard Dolna contains the concept of a virtual exhibition, which was not implemented however. At its heart would be Professor Kurt Schubert’s work: Jewish History as the Site of Jewish Identity. Note: manuscript in the collection.
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Death and Resurrection in Early Jewish and Early Christian Art
The development of a Jewish concept of resurrection: there is no concept of universal resurrection in the Old Testament, nor in Middle Eastern Antiquity generally. It is only the Greek trichotomic concept of a soul that makes the belief in... show more
The development of a Jewish concept of resurrection: there is no concept of universal resurrection in the Old Testament, nor in Middle Eastern Antiquity generally. It is only the Greek trichotomic concept of a soul that makes the belief in resurrection possible. It is on this basis that the idea of the reuniting of body and soul begins to develop in the second century BC.
Discussion of the representation of Ezekiel, Chapter 37 in the Synagogue of Dura Europos, mid 3rd century A.D. The scene of the revivification.
Shows the methodological emphasis: analysis of the picture, as compared to the Bible text and to Rabbinic literature.
The fifth picture shows Greek Psyche figures with butterfly wings and indicates the infiltration of a late antique concept of creation and resurrection into Jewish thought. This is echoed in the writings of Josephus Flavius.
For comparison, Kurt Weitzmann’s analysis of the Prometheus Sarcophagus is used, the iconography of which also highlights trichotomic anthropology.
Trichotomic anthropology also exerts its influence on early Christian perception, as in Paul or Irenaeus, and on early Christian iconography, the creation of Eva in the so-called Trinity Sarcophagus, (the Dogmatic Sarcophagus, beginning of the 4th century and later in the hexaemeron cupola of San Marco, Venice, where the iconography harks back to the Cotton Genesis, Byzantium, 5th century. This late influence jars slightly with the fact that the teaching of trichotomy had been condemned in the Council of Rome (382).
The belief in an in-between stage between death and the Last Days develops in Judaism, as well as in Christianity. In late antique art this belief can be seen in the representations of Jonah sleeping under the gourd, relating to the classical iconography of the sleeping Endymion (Jonah Sarcophagus).
The concept of salvation in Old Testament iconography in late antique catacomb painting: in Christian catacombs this is expressed through a great number of scenes showing redemption or salvation. These scenes convey the hope of eschatological salvation. Closely related to this is the image of the Good Shepherd as Saviour, as taken from Roman culture. Believers are entitled to eschatological redemption through baptism and the Eucharist. Therefore the representations of baptism, the multiplication of the loaves, and ritual meals are frequently found in the catacomb paintings.
The counterpart in Jewish catacombs is seen in temple imagery referring to the eschatological third temple: The Jewish Catacomb Villa Torlonia.
Representations of Jesus: in the earliest catacomb paintings there is still no representation of the person of Jesus, with respect to Canon 36 of the Synod of Elvira, beginning of the fourth century. During this period, however, the figure of a youthful philosopher is occasionally depicted. After the fourth century Jesus appears in scenes of the resurrection of Lazarus, as conqueror over death, a thought closely linked to the theology of victory of the Roman emperors. The early representations of the passion distance themselves clearly from the crucifixion and from the suffering Jesus, (sarcophagus of Junius Bassus).
The Cross appears as the symbol of victory, of the Last Judgement and of the resurrection, (crux gemmata, Apses of Santa Pudenziana and Santi Cosma e Damiano)
Resurrection and ascension to God: this theme illustrates the close relationship between Jewish and Christian art. Moses’ ascent of Mount Sinai, (Byzantine manuscript, tenth century, or the mosaics of Santa Katharina Basilica, Sinai) is associated with the resurrection of Christ (Munich ivory from the year 400).
A central theme of early Christian and Jewish art is the representation of God. We do not find an anthropomorphic representation of God. God’s intervention is shown through images of God’s hand (Dura Europos Synagogue, Munich ivory).
The image of the ascension in the old Syriac Rabbula Gospel from the year 586 referring to the visions of Ezekiel can be set by side these early Christian representations. Here the figure of Christ rising in the radiance of a rainbow can be compared to the representations of the returning victorious emperors. Thus it transpires that the early Christian illustrations of the passion and resurrection are first and foremost about victory over death (Rabbula Codex, Ascension to Heaven).
Further sources can be found in: Kurt Schubert, Die Entwicklung der Auferstehungslehre von der nachexilischen bis zur frührabbinischen Zeit (The Development of the Teaching on Resurrection from post-exile to early Rabbinic times), BZ 6, 1962, p. 177-214.
(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:526664
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Der Einfluss der trichotomischen Anthropologie auf die jüdische und frühchristliche Kunst
Der Einfluss der trichotomischen Anthropologie auf die jüdische und frühchristliche Kunst show more
Der Einfluss der trichotomischen Anthropologie auf die jüdische und frühchristliche Kunst
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Die Bedeutung der Fresken von Dura Europos und der Katakombe in der Via Latina für die frühchristliche Ikonographie
Die Bedeutung der Fresken von Dura Europos und der Katakombe in der Via Latina für die frühchristliche Ikonographie show more
Die Bedeutung der Fresken von Dura Europos und der Katakombe in der Via Latina für die frühchristliche Ikonographie
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Die christliche Katakombe der Via Latina in Rom aus dem 4. Jhdt. Und der jüdische Hintergrund ihrer Fresken; Die Bedeutung der Fresken von Dura Europos und der Katakombe in der Via Latina für die frühchristliche Ikonographie
Die christliche Katakombe der Via Latina in Rom aus dem 4. Jhdt. Und der jüdische Hintergrund ihrer Fresken; Die Bedeutung der Fresken von Dura Europos und der Katakombe in der Via Latina für die frühchristliche Ikonographie show more
Die christliche Katakombe der Via Latina in Rom aus dem 4. Jhdt. Und der jüdische Hintergrund ihrer Fresken; Die Bedeutung der Fresken von Dura Europos und der Katakombe in der Via Latina für die frühchristliche Ikonographie
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Einladung Namensgebung des Kurt und Ursula Schubert Zentrum für Jüdische Studien an der Palacký Universität Olmütz
Die Einladung zur Namensgebung des Zentrums findet sich in tschechischer und deutscher Sprache und verweißt auf die Veranstaltung am 13. Oktober 2008. show more
Die Einladung zur Namensgebung des Zentrums findet sich in tschechischer und deutscher Sprache und verweißt auf die Veranstaltung am 13. Oktober 2008.
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Einladung: Übergabe Kurt und Ursula Schubert-Archiv und Buchpräsentation "Erlebte Geschichte"
Die Übergabe des Kurt und Ursula Schubert-Archives gemeinsam mit der Buchpräsentation fand am 20. März 2017 statt. Die dazugehörige Einladung gibt Informationen zur Veranstaltung. show more
Die Übergabe des Kurt und Ursula Schubert-Archives gemeinsam mit der Buchpräsentation fand am 20. März 2017 statt. Die dazugehörige Einladung gibt Informationen zur Veranstaltung.
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Englisches Logo des Kurt und Ursula Schubert Zentrum für Jüdische Studien an der Palacký Universität Olmütz
Hier findet sich die Logos des Kurt und Ursula Schubert Zentrum für Jüdische Studien an der Palacký Universität Olmütz in englischer Sprache. show more
Hier findet sich die Logos des Kurt und Ursula Schubert Zentrum für Jüdische Studien an der Palacký Universität Olmütz in englischer Sprache.
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Forty Years of Jewish Studies at the University of Vienna
This E-book consists of the invitation and programme of the fortieth anniversary of the Institute for Jewish Studies at the University of Vienna and the laudation given by University Professor Dr. Dr. Johann Maier. The celebration took place on 22... show more
This E-book consists of the invitation and programme of the fortieth anniversary of the Institute for Jewish Studies at the University of Vienna and the laudation given by University Professor Dr. Dr. Johann Maier. The celebration took place on 22 May 2006 in the small hall of the University of Vienna.
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Foto: Begrüßung Professorin Ingeborg Fialova am Kurt und Ursula Schubert Zentrum für Jüdische Studien an der Palacky Universität Olmütz
Prof. Ingeborg Fialova, die Initiatorin der Olmützer Judaistik, begrüsst die Gäste anlässlich der Eröffnung der neuen Räume des „Kurt und Ursula Schubert Zentrums für Jüdische Studien“ an der Palacký Universität Olmütz, Februar 2010. show more
Prof. Ingeborg Fialova, die Initiatorin der Olmützer Judaistik, begrüsst die Gäste anlässlich der Eröffnung der neuen Räume des „Kurt und Ursula Schubert Zentrums für Jüdische Studien“ an der Palacký Universität Olmütz, Februar 2010.
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Foto: Hofrat Marko Feingold - Preisträger bei der Verleihung des Kurt Schubert Gedächtnispreis 2010
Dieses Foto zeigt den Preisträger Hofrat Marko Feingold bei der Verleihung des Kurt Schubert Gedächtnispreis 2010. show more
Dieses Foto zeigt den Preisträger Hofrat Marko Feingold bei der Verleihung des Kurt Schubert Gedächtnispreis 2010.
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Foto: Hörsaal des Kurt und Ursula Schubert Zentrum für Jüdische Studien
Dieses Foto zeigt den grossen Hörsaal am Kurt und Ursula Schubert Zentrum für Jüdische Studien an der Palacký Universität Olmütz, 2012; links ein Teil der Kurt Schubert Bibliothek (Prof. Schuberts private Fachbibliothek, die Eva Schubert nach dem Tod... show more
Dieses Foto zeigt den grossen Hörsaal am Kurt und Ursula Schubert Zentrum für Jüdische Studien an der Palacký Universität Olmütz, 2012; links ein Teil der Kurt Schubert Bibliothek (Prof. Schuberts private Fachbibliothek, die Eva Schubert nach dem Tod ihres Vaters dem Olmützer Institut schenkte).
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Foto: Kurt und Ursula Schubert Zentrum für Jüdische Studien an der Palacky Universität Olmütz im Frühjahr 2014
Diese Aufnahme wurde im Frühjahr 2014, anlässlich eines Besuches der Tochter und Enkelin von Kurt und Ursula Schubert, aufgenommen und zeigt das Team des Kurt und Ursula Schubert Zentrums für Jüdische Studien an der Palacký Universität Olmütz.... show more
Diese Aufnahme wurde im Frühjahr 2014, anlässlich eines Besuches der Tochter und Enkelin von Kurt und Ursula Schubert, aufgenommen und zeigt das Team des Kurt und Ursula Schubert Zentrums für Jüdische Studien an der Palacký Universität Olmütz.
Hinten, stehend, von links nach rechts: Eva Schubert (Tochter von Kurt und Ursula Schubert); Mag. Louise Hecht, PhD., Assistant; Mgr. Ivana Cahova, Head of the Department (mit Sohn; Franziska Wibmer mit Tochter Laura (Enkelin und Urenkelin von Kurt und Ursula Schubert); Prof. Ingeborg Fialova (Professorin für Germanistik und Initiatorin der Olmützer Judaistik);
Vorne, hockend bzw. kniend, von links nach rechts: Mgr. Marie Crhova, Phd., Assistant, PhDr. Lenka Ulicna, PhD., Assistant; Doc. Tamas Visi, M.A., Guarantor of the Jewish and Israeli Studies Study Field.
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Foto: Kurt und Ursula Schubert Zentrum für Jüdische Studien an der Palacký Universität Olmütz im Frühjahr 2014.
Diese Aufnahme wurde im Frühjahr 2014, anlässlich eines Besuches der Tochter und Enkelin von Kurt und Ursula Schubert, aufgenommen und zeigt das Team des Kurt und Ursula Schubert Zentrums für Jüdische Studien an der Palacky Universität Olmütz. ... show more
Diese Aufnahme wurde im Frühjahr 2014, anlässlich eines Besuches der Tochter und Enkelin von Kurt und Ursula Schubert, aufgenommen und zeigt das Team des Kurt und Ursula Schubert Zentrums für Jüdische Studien an der Palacky Universität Olmütz.
Hinten, stehend, von links nach rechts: Mgr. Ivana Cahova, Head of the Department (mit Sohn); PhDr. Lenka Ulicna, PhD., Assistant; Prof. Ingeborg Fialova (Professorin für Germanistik und Initiatorin der Olmützer Judaistik); Mag. Louise Hecht, PhD., Assistant; Eva Schubert (Tochter von Kurt und Ursula Schubert).
Vorne, hockend bzw. sitzend, von links nach rechts: Doc. Tamas Visi, M.A., Guarantor of the Jewish and Israeli Studies Study Field; Franziska Wibmer mit Tochter Laura (Enkelin und Urenkelin von Kurt und Ursula Schubert); Mgr. Ivana Cahova, Head of the Department (mit Sohn)
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Fragmentary list of Kurt Schubert's working archive
Written by his wife Ursula Schubert. The original material is preserved at the Vienna University Archive. show more
Written by his wife Ursula Schubert. The original material is preserved at the Vienna University Archive.
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o:472109 Geburtstag Kurt Schubert
Geburtstag Kurt Schubert
Kurt Schubert an seinem achtzigsten Geburtstag im März 2003 beim Friseurmüller in Neustift am Walde; links von Prof. Schubert, Prof. Günther Stemberger show more
Kurt Schubert an seinem achtzigsten Geburtstag im März 2003 beim Friseurmüller in Neustift am Walde; links von Prof. Schubert, Prof. Günther Stemberger
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o:472602 Haggada
Haggada
Summary of the main aspects of the preparations: Cleansing of all that is leavened, laying of the Seder table with an egg, bones, Charoset, four beakers of wine, Matzah, Maror (the bitter herbs), Karpas and salt water
The order of the Seder:... show more
Summary of the main aspects of the preparations: Cleansing of all that is leavened, laying of the Seder table with an egg, bones, Charoset, four beakers of wine, Matzah, Maror (the bitter herbs), Karpas and salt water
The order of the Seder: Kiddush, hand washing, breaking of the Matzah, bread of the poor, asking the youngest son, asking the four sons, reading of the Passover Midrash, Mentioning and quoting several Rabbis, eating of the Matzah and the Maror, flour, Hallel, Pour Out Your Wrath, eschatological perspective, Passover songs
The following pages contain a copy of the Haggadah text with German translation
For more information of the Passover festival, see Jakob Allerhand, in Judentum im Mittelalter, (Judaism in the Middle Ages), Austr.-Kat. Halbturn 1975.
(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:556131
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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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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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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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