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The mission of this series is to support scholarship in diverse fields under the umbrella of the creative arts. With particular interest in theater, music, film and visual culture, this series seeks to publish cutting edge cultural history that contextualize these growing areas of scholarship within the larger tapestry of the Jewish experience.
This book addresses typology of Late Antique and Byzantine art and architecture in eight wide-ranging contributions from an international group of scholars. A dialogue between type and its ultimate source, archetype, surpasses issues of formalism and conventional chronological narratives to suggest a more nuanced approach to typology as a systematic and systemic classification of types in the visual landscape of the pagans, Jews, and Christians.
Set against the contemporaneous cultural context, select examples of Mediterranean material culture confirm the great importance of type-and-archetype constructs for theoretical discourse on architecture and visual arts. Contributors are Anna Adashinskaya, Jelena Anđelković Grašar, Jelena Bogdanović, Čedomila Marinković, Marina Mihaljević, Ljubomir Milanović, Cecilia Olovsdotter, and Ida Sinkević.
Set against the contemporaneous cultural context, select examples of Mediterranean material culture confirm the great importance of type-and-archetype constructs for theoretical discourse on architecture and visual arts. Contributors are Anna Adashinskaya, Jelena Anđelković Grašar, Jelena Bogdanović, Čedomila Marinković, Marina Mihaljević, Ljubomir Milanović, Cecilia Olovsdotter, and Ida Sinkević.
This book addresses typology of Late Antique and Byzantine art and architecture in eight wide-ranging contributions from an international group of scholars. A dialogue between type and its ultimate source, archetype, surpasses issues of formalism and conventional chronological narratives to suggest a more nuanced approach to typology as a systematic and systemic classification of types in the visual landscape of the pagans, Jews, and Christians.
Set against the contemporaneous cultural context, select examples of Mediterranean material culture confirm the great importance of type-and-archetype constructs for theoretical discourse on architecture and visual arts. Contributors are Anna Adashinskaya, Jelena Anđelković Grašar, Jelena Bogdanović, Čedomila Marinković, Marina Mihaljević, Ljubomir Milanović, Cecilia Olovsdotter, and Ida Sinkević.
Set against the contemporaneous cultural context, select examples of Mediterranean material culture confirm the great importance of type-and-archetype constructs for theoretical discourse on architecture and visual arts. Contributors are Anna Adashinskaya, Jelena Anđelković Grašar, Jelena Bogdanović, Čedomila Marinković, Marina Mihaljević, Ljubomir Milanović, Cecilia Olovsdotter, and Ida Sinkević.
Portrayals of Judith, Esther and the Shulamite in Early Twentieth-Century Jewish Art
Author:
Although recently more studies have been devoted to the representations of Biblical heroines in modern European art, less is known about the contribution to the portrayals of Biblical women by modern Jewish artists. This monograph explores why and how heroines of the Scripture: Judith, Esther and the Shulamite received a particular meaning for acculturated Jewish artists originating from the Polish lands in the last decades of the nineteenth century and the first two decades of the twentieth century. It convincingly proves that artworks by Maurycy Gottlieb, Wilhem Wachtel, Ephraim Moses Lilien, Maurycy Minkowski, Samuel Hirszenberg and Boris Schatz significantly differed from renderings of contemporary non-Jewish artists, adopting a “Jewish perspective”, creating complex and psychological portrayals of the heroines inspired by Jewish literature and as well as by historical and cultural phenomena of Jewish revival and the cultural Zionism movement.
Portrayals of Judith, Esther and the Shulamite in Early Twentieth-Century Jewish Art
Author:
Although recently more studies have been devoted to the representations of Biblical heroines in modern European art, less is known about the contribution to the portrayals of Biblical women by modern Jewish artists. This monograph explores why and how heroines of the Scripture: Judith, Esther and the Shulamite received a particular meaning for acculturated Jewish artists originating from the Polish lands in the last decades of the nineteenth century and the first two decades of the twentieth century. It convincingly proves that artworks by Maurycy Gottlieb, Wilhem Wachtel, Ephraim Moses Lilien, Maurycy Minkowski, Samuel Hirszenberg and Boris Schatz significantly differed from renderings of contemporary non-Jewish artists, adopting a “Jewish perspective”, creating complex and psychological portrayals of the heroines inspired by Jewish literature and as well as by historical and cultural phenomena of Jewish revival and the cultural Zionism movement.
Michail Grobman and the Leviathan Group
Series:
Studia Judaeoslavica, Volume: 15
Author:
Can studying an artist’s migration enable the reconfiguration of art history in a new and “global” mode? Michail Grobman’s odyssey in search of a contemporary idiom of Jewish art led him to cross the borders of political blocs and to observe, absorb, and confront different patterns of modernism in his work. His provocative art, his rich archives and collections, his essays and personal diaries all reveal this complexity and open up a new perspective on post-World War II twentieth-century modernism – and on the interconnected functioning of its local models.
Michail Grobman and the Leviathan Group
Series:
Studia Judaeoslavica, Volume: 15
Author:
Can studying an artist’s migration enable the reconfiguration of art history in a new and “global” mode? Michail Grobman’s odyssey in search of a contemporary idiom of Jewish art led him to cross the borders of political blocs and to observe, absorb, and confront different patterns of modernism in his work. His provocative art, his rich archives and collections, his essays and personal diaries all reveal this complexity and open up a new perspective on post-World War II twentieth-century modernism – and on the interconnected functioning of its local models.
The Early Modern Synagogue Painter and His World
Author:
Eliezer-Zusman of Brody: The Early Modern Synagogue Painter and His World discusses Jewish cultural and artistic migration from Eastern Europe to German lands in the first half of the eighteenth century. Focusing on Eliezer-Zusman of Brody, who painted synagogues in the Franconia area, hitherto neglected biographical aspects and work methods of religious artisans in Eastern and Central Europe during the early modern period are revealed. What begins as a study of synagogue paintings in Franconia presents an unexpectedly intensive glimpse into the lives and sacred products of painters at the periphery of Jewish Ashkenazi existence.
The Early Modern Synagogue Painter and His World
Author:
Eliezer-Zusman of Brody: The Early Modern Synagogue Painter and His World discusses Jewish cultural and artistic migration from Eastern Europe to German lands in the first half of the eighteenth century. Focusing on Eliezer-Zusman of Brody, who painted synagogues in the Franconia area, hitherto neglected biographical aspects and work methods of religious artisans in Eastern and Central Europe during the early modern period are revealed. What begins as a study of synagogue paintings in Franconia presents an unexpectedly intensive glimpse into the lives and sacred products of painters at the periphery of Jewish Ashkenazi existence.
A Biblical People
Editor:
The Samaritans: A Biblical People celebrates the culture of the Israelite Samaritans, from biblical times to our own day. An international team of historians, folklorists, a documentary filmmaker and contemporary artists have come together to explore ways that Samaritans, Jews, Christians, and Muslims have interacted, often shunned and always interpreted one another across the expanse of western civilization.
Written for both the general reader and the scholar, The Samaritans: A Biblical People is a centerpiece of the Israelite Samaritans Project of the Yeshiva University Center for Israel Studies. This exquisitely illustrated volume celebrates a traveling exhibition produced jointly with the Museum of the Bible in Washington D.C.
Written for both the general reader and the scholar, The Samaritans: A Biblical People is a centerpiece of the Israelite Samaritans Project of the Yeshiva University Center for Israel Studies. This exquisitely illustrated volume celebrates a traveling exhibition produced jointly with the Museum of the Bible in Washington D.C.
A Biblical People
Editor:
The Samaritans: A Biblical People celebrates the culture of the Israelite Samaritans, from biblical times to our own day. An international team of historians, folklorists, a documentary filmmaker and contemporary artists have come together to explore ways that Samaritans, Jews, Christians, and Muslims have interacted, often shunned and always interpreted one another across the expanse of western civilization.
Written for both the general reader and the scholar, The Samaritans: A Biblical People is a centerpiece of the Israelite Samaritans Project of the Yeshiva University Center for Israel Studies. This exquisitely illustrated volume celebrates a traveling exhibition produced jointly with the Museum of the Bible in Washington D.C.
Written for both the general reader and the scholar, The Samaritans: A Biblical People is a centerpiece of the Israelite Samaritans Project of the Yeshiva University Center for Israel Studies. This exquisitely illustrated volume celebrates a traveling exhibition produced jointly with the Museum of the Bible in Washington D.C.
The South-Eastern Samaria Shoulder, from Wadi Rashash to Wadi 'Aujah
The book presents the results of a complete detailed survey of the eastern region of Samaria, mainly the South-Eastern Samaria Shoulder, from Wadi Rashash to Wadi 'Aujah within the territory of Israel/Palestine. This project, in progress since 1978, and covering 2500 sq. km, is a thorough, metre-by-metre mapping of the archaeological-historical area between the River Jordan and the Sharon Plain, and between Nahal 'Iron and the north-eastern point of the Dead Sea. This territory is one of the most important in the country from the Biblical and archaeological view; and the survey is a valuable tool for scholars of the Bible, Archaeology, Near Eastern history, tourism, and other aspects of the Holy Land.
The South-Eastern Samaria Shoulder, from Wadi Rashash to Wadi 'Aujah
The book presents the results of a complete detailed survey of the eastern region of Samaria, mainly the South-Eastern Samaria Shoulder, from Wadi Rashash to Wadi 'Aujah within the territory of Israel/Palestine. This project, in progress since 1978, and covering 2500 sq. km, is a thorough, metre-by-metre mapping of the archaeological-historical area between the River Jordan and the Sharon Plain, and between Nahal 'Iron and the north-eastern point of the Dead Sea. This territory is one of the most important in the country from the Biblical and archaeological view; and the survey is a valuable tool for scholars of the Bible, Archaeology, Near Eastern history, tourism, and other aspects of the Holy Land.
A Golah Polemic against the Autochthonous Inhabitants of the Land?
Author:
Of all the tribes of Israel, why is Benjamin cast in the role of the villainous “other” in Judges 19-21? Krisel argues that the anti-Benjamin Tendenz in the narrative reflects economic, political and ideological tensions between the Golah community, the deportees who returned from Babylon during the early Persian period, and the people who had not gone into exile, who lived primarily in the Benjamin region. The hypothesis is supported by archaeological and survey data largely overlooked by biblical scholars and by a careful redaction history of the text. Krisel engages critically with the predominant scholarly view that Judges 19-21 uses “irony” to cast the explicit heroes in the narrative, the sons of Israel, as the implicit villains.
A Golah Polemic against the Autochthonous Inhabitants of the Land?
Author:
Of all the tribes of Israel, why is Benjamin cast in the role of the villainous “other” in Judges 19-21? Krisel argues that the anti-Benjamin Tendenz in the narrative reflects economic, political and ideological tensions between the Golah community, the deportees who returned from Babylon during the early Persian period, and the people who had not gone into exile, who lived primarily in the Benjamin region. The hypothesis is supported by archaeological and survey data largely overlooked by biblical scholars and by a careful redaction history of the text. Krisel engages critically with the predominant scholarly view that Judges 19-21 uses “irony” to cast the explicit heroes in the narrative, the sons of Israel, as the implicit villains.
Cambridge Genizah Studies Series, Volume 15
Author:
Through the application of scientific methods of analysis to a corpus of medieval manuscripts found in the Cairo Genizah, this work aims to gain a better understanding of the writing materials used by Jewish communities at that time, shedding new light not only on the production of manuscripts in the Middle Ages, but also on the life of those Jewish communities.
Cambridge Genizah Studies Series, Volume 15
Author:
Through the application of scientific methods of analysis to a corpus of medieval manuscripts found in the Cairo Genizah, this work aims to gain a better understanding of the writing materials used by Jewish communities at that time, shedding new light not only on the production of manuscripts in the Middle Ages, but also on the life of those Jewish communities.
The State of Research in Ancient Jewish Art
Author:
Antique Jewish art visualized the idea that the essence of God is beyond the world of forms. In the Bible, the Israelites were commanded to build sanctuaries without cult statues. Following the destruction of the Second Temple, Jews turned to literary and visual aids to fill the void. In this accessible survey, Shulamit Laderman traces the visualizations of the Tabernacle implements, including the seven-branch menorah, the Torah ark, the shofar, the four species, and other motifs associated with the Hebrew Bible and the Jewish calendar. These motifs evolved into iconographic symbols visualized in a range of media, including coins, funerary art, and synagogue decorations in both Israel and the Diaspora. Particular attention is given to important discoveries such as the frescoes of the third-century CE synagogue in Dura-Europos, mosaic floors in synagogues in Galilee, and architectural and carved motifs that decorated burial places.
The State of Research in Ancient Jewish Art
Author:
Antique Jewish art visualized the idea that the essence of God is beyond the world of forms. In the Bible, the Israelites were commanded to build sanctuaries without cult statues. Following the destruction of the Second Temple, Jews turned to literary and visual aids to fill the void. In this accessible survey, Shulamit Laderman traces the visualizations of the Tabernacle implements, including the seven-branch menorah, the Torah ark, the shofar, the four species, and other motifs associated with the Hebrew Bible and the Jewish calendar. These motifs evolved into iconographic symbols visualized in a range of media, including coins, funerary art, and synagogue decorations in both Israel and the Diaspora. Particular attention is given to important discoveries such as the frescoes of the third-century CE synagogue in Dura-Europos, mosaic floors in synagogues in Galilee, and architectural and carved motifs that decorated burial places.