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In Jewish art, Temple iconography appears by the 1st century CE on coins from the time of the Bar Kochba revolt. From then onwards, the imagery of the Temple continues to appear in different contexts in Jewish art, from frescoes in Dura-Europos, through the floor mosaics of the early Galilee synagogues, to the catacombs of Rome and Bet Shearim. Medieval representations of the Temple can be found in illuminated manuscripts, especially in the Haggadot. This chapter deals with the representation of the Temple in the 14th-century Sarajevo Haggadah. Is the Temple representation in the Sarajevo Haggadah narrative or symbolic, and what are the layers of meaning this representation conveys? How original or isolated is it in the Jewish visual arts? Are there any differences between the Temple representations in Sephardic and Ashkenazi visual imagery? What can we deduce from comparing them? Finally, is the representation of the Temple in the Sarajevo Haggadah a type or archetype?

In: Type and Archetype in Late Antique and Byzantine Art and Architecture
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.