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Judaism and the Visual Image
The widespread assumption that Jewish religious tradition is mediated through words, not pictures, has left Jewish art with no significant role to play in Jewish theology and ethics. Judaism and the Visual Image argues for a Jewish theology of image that, among other things, helps us re-read the creation story in Genesis 1 and to question why images of Jewish women as religious subjects appear to be doubly suppressed by the Second Commandment, when images of observant male Jews have become legitimate, even iconic, representations of Jewish holiness. Raphael further suggests that 'devout beholding' of images of the Holocaust is a corrective to post-Holocaust theologies of divine absence from suffering that are infused by a sub-theological aesthetic of the sublime. Raphael concludes by proposing that the relationship between God and Israel composes itself into a unitary dance or moving image by which each generation participates in a processive revelation that is itself the ultimate work of Jewish art.
eBook
The Artless Jew
Conventional wisdom holds that Judaism is indifferent or even suspiciously hostile to the visual arts due to the Second Commandment's prohibition on creating \"graven images,\" the dictates of monotheism, and historical happenstance. This intellectual history of medieval and modern Jewish attitudes toward art and representation overturns the modern assumption of Jewish iconophobia that denies to Jewish culture a visual dimension.
Kalman Bland synthesizes evidence from medieval Jewish philosophy, mysticism, poetry, biblical commentaries, travelogues, and law, concluding that premodern Jewish intellectuals held a positive, liberal understanding of the Second Commandment and did, in fact, articulate a certain Jewish aesthetic. He draws on this insight to consider modern ideas of Jewish art, revealing how they are inextricably linked to diverse notions about modern Jewish identity that are themselves entwined with arguments over Zionism, integration, and anti-Semitism.
Through its use of the past to illuminate the present and its analysis of how the present informs our readings of the past, this book establishes a new assessment of Jewish aesthetic theory rooted in historical analysis. Authoritative and original in its identification of authentic Jewish traditions of painting, sculpture, and architecture, this volume will ripple the waters of several disciplines, including Jewish studies, art history, medieval and modern history, and philosophy.
eBook
Graven Images on Video? The Second Commandment and Jewish Identity
The post enlightenment thinkers who founded and cultivated this discipline, regarded laws as reflections of the spirit and capacities of the people who created them. [...]Christian antiSemites such as G. W. F. Hegel could take the ban on images to mean that Jewish inability to make art was codified in their law, a claim to which the Gnostic interpretation was more conducive than the permissive medieval one (Hegel 182-205). [...]the construction of a specifically Jewish art would now be able to contribute significantly \"on the threshold of an epoch, whose essence seems everywhere to be the dissolution of substance into relationships and its transfiguration into spiritual values\" (Buber, [Introduction] n.p.). Since its revision in the twelfth century, when Kol Nidre is chanted in Ashkenazic synagogues on the eve of Yom Kippur, it makes a legal statement in the name of the whole congregation retracting all vows and oaths that will be made in the year to come. According to the seventeenthcentury professor Johann Andreas Eisenmenger, who quotes several pre-existing anti-Semitic tracts, and whose own contribution to this genre was still being translated and published in the late nineteenth century, the Kol Nidre allowed Jews to swear falsely to Christians (Eisenmenger 409).
Journal Article
The Ten Commandments
So reads Cecil B. DeMille’s on-screen credit inThe Ten Commandments.In his filmed introduction he says, “Our intention was not to create a story, but to be worthy of the Divinely inspired story created three thousand years ago—the five Books of Moses.” Titles proclaim the film is based on the Holy Scriptures, the Midrash, and works by Philo, Josephus, and Eusebius, historians who, DeMille tells the audience, “had access to documents long since destroyed—or perhaps lost—like the Dead Sea Scrolls.”¹ But more recent works were consulted as well:Prince of Egypt(1949) by Dorothy Clark Wilson,
Book Chapter
The Ten Commandments
So reads Cecil B. DeMille’s on-screen credit inThe Ten Commandments.In his filmed introduction he says, “Our intention was not to create a story, but to be worthy of the Divinely inspired story created three thousand years ago—the five Books of Moses.” Titles proclaim the film is based on the Holy Scriptures, the Midrash, and works by Philo, Josephus, and Eusebius, historians who, DeMille tells the audience, “had access to documents long since destroyed—or perhaps lost—like the Dead Sea Scrolls.”¹ But more recent works were consulted as well:Prince of Egypt(1949) by Dorothy Clark Wilson,
Book Chapter