Abstract:A biblical sign of the divine covenant (Gen. 9:12), the rainbow has conveyed symbolic meaning in the art of the Abrahamic religions for ages. The rainbow image as well as arched patterns and domelike structures alluding to a rainbow suggest the Heavens as God's abode and as a channel for divine communication. The present article surveys the textual sources and artistic interpretations of this symbolism.
{"title":"The Rainbow: Envisioning Divine Communication in Jewish, Byzantine, and Islamic Art","authors":"Shulamit Laderman","doi":"10.3828/aj.2018.14.2","DOIUrl":"https://doi.org/10.3828/aj.2018.14.2","url":null,"abstract":"Abstract:A biblical sign of the divine covenant (Gen. 9:12), the rainbow has conveyed symbolic meaning in the art of the Abrahamic religions for ages. The rainbow image as well as arched patterns and domelike structures alluding to a rainbow suggest the Heavens as God's abode and as a channel for divine communication. The present article surveys the textual sources and artistic interpretations of this symbolism.","PeriodicalId":41476,"journal":{"name":"Ars Judaica-The Bar Ilan Journal of Jewish Art","volume":"14 1","pages":"26 - 7"},"PeriodicalIF":0.2,"publicationDate":"2019-01-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47310678","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"The Celebration of the 150th Anniversary of the Birth of Léon Bakst in Three Exhibition Catalogues","authors":"O. Medvedkova","doi":"10.3828/aj.2018.14.9a","DOIUrl":"https://doi.org/10.3828/aj.2018.14.9a","url":null,"abstract":"","PeriodicalId":41476,"journal":{"name":"Ars Judaica-The Bar Ilan Journal of Jewish Art","volume":"14 1","pages":"127 - 130"},"PeriodicalIF":0.2,"publicationDate":"2019-01-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43556665","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract:Jacqueline Nicholls's art addresses Jewish-religious themes from a gender perspective, often using textiles and a range of sewing and embroidery techniques. In this paper I discuss two of her works – Maybe This Month, about the laws and rituals of niddah, and Ghosts and Shadows: The Women Who Haunt the Talmud, which relates to female figures in the Talmud. Both compositions feature text embroidered in white thread on white fabric. I draw on feminist theories about the act of writing and explore the ways in which Nicholls's aesthetic choices and, in particular, the one to embroider text, function in the works with respect to questions of religion and of gender. I discuss the works alongside canonical-religious texts and point out how visual images created by a woman using a "feminine" artistic technique respond to texts produced by men within a masculine tradition of writing.
{"title":"She Writes in White Ink: On Aesthetic, Religious, and Gender Perceptions in the Work of Jacqueline Nicholls","authors":"Roni Tzoreff","doi":"10.3828/aj.2018.14.7","DOIUrl":"https://doi.org/10.3828/aj.2018.14.7","url":null,"abstract":"Abstract:Jacqueline Nicholls's art addresses Jewish-religious themes from a gender perspective, often using textiles and a range of sewing and embroidery techniques. In this paper I discuss two of her works – Maybe This Month, about the laws and rituals of niddah, and Ghosts and Shadows: The Women Who Haunt the Talmud, which relates to female figures in the Talmud. Both compositions feature text embroidered in white thread on white fabric. I draw on feminist theories about the act of writing and explore the ways in which Nicholls's aesthetic choices and, in particular, the one to embroider text, function in the works with respect to questions of religion and of gender. I discuss the works alongside canonical-religious texts and point out how visual images created by a woman using a \"feminine\" artistic technique respond to texts produced by men within a masculine tradition of writing.","PeriodicalId":41476,"journal":{"name":"Ars Judaica-The Bar Ilan Journal of Jewish Art","volume":"14 1","pages":"110 - 93"},"PeriodicalIF":0.2,"publicationDate":"2019-01-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47212626","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Jews in Art and Society","authors":"N. B. Debby","doi":"10.3828/aj.2018.14.10","DOIUrl":"https://doi.org/10.3828/aj.2018.14.10","url":null,"abstract":"","PeriodicalId":41476,"journal":{"name":"Ars Judaica-The Bar Ilan Journal of Jewish Art","volume":"14 1","pages":"131 - 133"},"PeriodicalIF":0.2,"publicationDate":"2019-01-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47342232","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract:An illuminated Passover manuscript known as the Sereni Haggadah (held in the Umberto Nahon Museum of Italian Jewish Art in Jerusalem, Ms. no. 859 280/4) is a north Italian iteration of Ashkenazi haggadot. It was apparently written by an Ashkenazi scribe(s) who had immigrated to Italy and adopted certain features of Italian haggadot. The illuminations were done by several different artists. The manuscript has changed hands many times and has undergone a series of alterations.
{"title":"\"Go and Learn\": The Ashkenazi and Italian Roots of the Sereni Haggadah","authors":"Sivan Gottlieb","doi":"10.3828/aj.2018.14.5","DOIUrl":"https://doi.org/10.3828/aj.2018.14.5","url":null,"abstract":"Abstract:An illuminated Passover manuscript known as the Sereni Haggadah (held in the Umberto Nahon Museum of Italian Jewish Art in Jerusalem, Ms. no. 859 280/4) is a north Italian iteration of Ashkenazi haggadot. It was apparently written by an Ashkenazi scribe(s) who had immigrated to Italy and adopted certain features of Italian haggadot. The illuminations were done by several different artists. The manuscript has changed hands many times and has undergone a series of alterations.","PeriodicalId":41476,"journal":{"name":"Ars Judaica-The Bar Ilan Journal of Jewish Art","volume":"14 1","pages":"63 - 78"},"PeriodicalIF":0.2,"publicationDate":"2019-01-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46580774","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract:This article investigates the semantics of striped clothes in their religious, social, historical, and artistic contexts. Various stripes decorate the clothes of the Israelites conducting the offering of Passover lamb in the altarpiece panel (ca. 1465–1470) attributed to the Netherlandish Master of the Gathering of the Manna. The artist implies that the Jews who have established the ritual do not understand its true meaning. The painting refrains from scenes of violent, bloody animal offering. We propose that this unusual interpretation of the offering of the Jews responds to the renewed approach to the Blessed Sacrament in the spirit of the Devotio moderna religious movement that flourished in the fifteenth-century Netherlands. Striped robes and headgear as well as reliably rendered tallitot distinguish the Jews as strangers, but also play a role in the visual narrative interpreting the ritual performed by biblical Israelites as a prefiguration of the nonviolent Christian sacrament.
{"title":"Striped Jews: The Offering of the Jews in the Boijmans Van Beuningen Museum","authors":"Dilshat Harman","doi":"10.3828/aj.2019.15.4","DOIUrl":"https://doi.org/10.3828/aj.2019.15.4","url":null,"abstract":"Abstract:This article investigates the semantics of striped clothes in their religious, social, historical, and artistic contexts. Various stripes decorate the clothes of the Israelites conducting the offering of Passover lamb in the altarpiece panel (ca. 1465–1470) attributed to the Netherlandish Master of the Gathering of the Manna. The artist implies that the Jews who have established the ritual do not understand its true meaning. The painting refrains from scenes of violent, bloody animal offering. We propose that this unusual interpretation of the offering of the Jews responds to the renewed approach to the Blessed Sacrament in the spirit of the Devotio moderna religious movement that flourished in the fifteenth-century Netherlands. Striped robes and headgear as well as reliably rendered tallitot distinguish the Jews as strangers, but also play a role in the visual narrative interpreting the ritual performed by biblical Israelites as a prefiguration of the nonviolent Christian sacrament.","PeriodicalId":41476,"journal":{"name":"Ars Judaica-The Bar Ilan Journal of Jewish Art","volume":"15 1","pages":"29 - 46"},"PeriodicalIF":0.2,"publicationDate":"2019-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45771290","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract:The Sarajevo Haggadah has long been known to scholars as one of the earliest medieval Jewish manuscripts and to the wider public as a symbol of tolerance and hope. Despite its fame, however, one of the most compelling features in the illuminations has yet to be explained satisfactorily: the dark-skinned female figure in the picture that illustrates the family at the Passover Seder feast. In this article I offer an analysis of the figure, one that overturns liberal modern interpretations and points instead to a more contentious medieval context.
{"title":"Freedom and Slavery in the Sarajevo Haggadah","authors":"A. Cohen","doi":"10.3828/AJ.2019.15.3","DOIUrl":"https://doi.org/10.3828/AJ.2019.15.3","url":null,"abstract":"Abstract:The Sarajevo Haggadah has long been known to scholars as one of the earliest medieval Jewish manuscripts and to the wider public as a symbol of tolerance and hope. Despite its fame, however, one of the most compelling features in the illuminations has yet to be explained satisfactorily: the dark-skinned female figure in the picture that illustrates the family at the Passover Seder feast. In this article I offer an analysis of the figure, one that overturns liberal modern interpretations and points instead to a more contentious medieval context.","PeriodicalId":41476,"journal":{"name":"Ars Judaica-The Bar Ilan Journal of Jewish Art","volume":"15 1","pages":"15 - 28"},"PeriodicalIF":0.2,"publicationDate":"2019-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48547398","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract:Over seventy-five years since the Holocaust, scholarship has still not adequately studied the countless persecuted and murdered Jewish artists who worked in France before the war. Most have eluded close critical or academic attention. This article discusses one Jewish woman artist working in Paris. Her name was Nathalie Kraemer, and until now there have been few details known about her life other than that she was born in Paris in 1891, wrote poetry, and died in Auschwitz in 1943. Kraemer was "discovered" and pulled from obscurity by a private collector named Oscar Ghez, who purchased her paintings in 1973, but they have remained, for the most part, out of public view. Her story highlights how incomplete mainstream accounts of modernism are and how badly the canon of "Holocaust art" needs to be expanded. Based on new research in the archives, this richly illustrated article fleshes out her life and career.
{"title":"Nathalie Kraemer's Rising Voice","authors":"R. Perry","doi":"10.3828/aj.2019.15.7","DOIUrl":"https://doi.org/10.3828/aj.2019.15.7","url":null,"abstract":"Abstract:Over seventy-five years since the Holocaust, scholarship has still not adequately studied the countless persecuted and murdered Jewish artists who worked in France before the war. Most have eluded close critical or academic attention. This article discusses one Jewish woman artist working in Paris. Her name was Nathalie Kraemer, and until now there have been few details known about her life other than that she was born in Paris in 1891, wrote poetry, and died in Auschwitz in 1943. Kraemer was \"discovered\" and pulled from obscurity by a private collector named Oscar Ghez, who purchased her paintings in 1973, but they have remained, for the most part, out of public view. Her story highlights how incomplete mainstream accounts of modernism are and how badly the canon of \"Holocaust art\" needs to be expanded. Based on new research in the archives, this richly illustrated article fleshes out her life and career.","PeriodicalId":41476,"journal":{"name":"Ars Judaica-The Bar Ilan Journal of Jewish Art","volume":"15 1","pages":"146 - 95"},"PeriodicalIF":0.2,"publicationDate":"2019-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49024880","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract:The ancient synagogue at Na'aran is adorned with magnificent mosaic carpets whose figural images show iconoclastic damage. Despite this effacement, it is discernible that several figures in the mosaic carpet are depicted with their arms aloft in the orans position. During the Byzantine period – the time of the synagogue's construction – the orans gesture was an emblematically Christian prayer stance and was thus rarely depicted in Jewish art; its incorporation into the synagogue's mosaic decoration at Na'aran is therefore perplexing. Moreover, most of the figures with arms outstretched in the orans position are female and only one is male. This article suggests various directions for understanding this exceptional and unique phenomenon, that touch on both the prominent feminine embodiment of the posture and the theological-polemical aspect of this ancient prayer position.
{"title":"Women in Orans at the Na'aran Synagogue: Art and Reality","authors":"Noa Yuval-Hacham","doi":"10.3828/aj.2019.15.2","DOIUrl":"https://doi.org/10.3828/aj.2019.15.2","url":null,"abstract":"Abstract:The ancient synagogue at Na'aran is adorned with magnificent mosaic carpets whose figural images show iconoclastic damage. Despite this effacement, it is discernible that several figures in the mosaic carpet are depicted with their arms aloft in the orans position. During the Byzantine period – the time of the synagogue's construction – the orans gesture was an emblematically Christian prayer stance and was thus rarely depicted in Jewish art; its incorporation into the synagogue's mosaic decoration at Na'aran is therefore perplexing. Moreover, most of the figures with arms outstretched in the orans position are female and only one is male. This article suggests various directions for understanding this exceptional and unique phenomenon, that touch on both the prominent feminine embodiment of the posture and the theological-polemical aspect of this ancient prayer position.","PeriodicalId":41476,"journal":{"name":"Ars Judaica-The Bar Ilan Journal of Jewish Art","volume":"376 ","pages":"1 - 14"},"PeriodicalIF":0.2,"publicationDate":"2019-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41283795","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract:Barnett Newman's canvases and his rare sculptures are steeped in Jewish learning, which emerges from their provocative titles as well as from their abstract forms. Principal among his concepts is Zim Zum (after the Hebrew ẓimẓum: literally, contraction), the title of one of his final large sculptures (1969), the Kabbalistic idea that divine creation actually results from a process of voluntary contraction and separation, involving both place and moment, separated out of space and time. Using the artist's chosen titles, this article focuses on separation, especially through the formal means of Newman's celebrated verticals, or "zips," which underscore the importance achieved in artistic creation by that division of both space and time. To underscore the importance of place, separated out of undifferentiated space, requires a marker, like a zip, in a larger field, which in turn can produce the Jewish concept of makom (place), very important to Newman and recurring in his quotations. In similar fashion, like the Havdalah separation of the holy Sabbath from ordinary time, or like the Genetic Moment (1947) of Genesis itself, the encompassing vast Newman canvases, meant to be seen close up according to the artist, provide the same separation and intense and immersive experience, hineni (Hebrew: here), as his desired "physical sensation of time."
{"title":"Barnett Newman: Jewish Place and Moment","authors":"Larry Silver","doi":"10.3828/aj.2019.15.6","DOIUrl":"https://doi.org/10.3828/aj.2019.15.6","url":null,"abstract":"Abstract:Barnett Newman's canvases and his rare sculptures are steeped in Jewish learning, which emerges from their provocative titles as well as from their abstract forms. Principal among his concepts is Zim Zum (after the Hebrew ẓimẓum: literally, contraction), the title of one of his final large sculptures (1969), the Kabbalistic idea that divine creation actually results from a process of voluntary contraction and separation, involving both place and moment, separated out of space and time. Using the artist's chosen titles, this article focuses on separation, especially through the formal means of Newman's celebrated verticals, or \"zips,\" which underscore the importance achieved in artistic creation by that division of both space and time. To underscore the importance of place, separated out of undifferentiated space, requires a marker, like a zip, in a larger field, which in turn can produce the Jewish concept of makom (place), very important to Newman and recurring in his quotations. In similar fashion, like the Havdalah separation of the holy Sabbath from ordinary time, or like the Genetic Moment (1947) of Genesis itself, the encompassing vast Newman canvases, meant to be seen close up according to the artist, provide the same separation and intense and immersive experience, hineni (Hebrew: here), as his desired \"physical sensation of time.\"","PeriodicalId":41476,"journal":{"name":"Ars Judaica-The Bar Ilan Journal of Jewish Art","volume":"15 1","pages":"71 - 94"},"PeriodicalIF":0.2,"publicationDate":"2019-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43988904","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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