Between Judaism and Christianity: Art Historical Essays in Honor of Elisheva (Elisabeth) Revel-Neher (The Medieval Mediterranean, Volume 81)

Between Judaism and Christianity: Art Historical Essays in Honor of Elisheva (Elisabeth) Revel-Neher (The Medieval Mediterranean, Volume 81)

Katrin Kogman-Appel, Mati Meyer

Language: English

Pages: 488

ISBN: 2:00274087

Format: PDF / Kindle (mobi) / ePub


The nineteen essays assembled in this Festschrift represent the multiplicity of interests evident in Elisabeth (Elisheva) Revel-Neher's work. They cover a variety of subjects dealing with pictorial messages encrypted in various artistic media, and address a broad array of topics: Jewish identity in the late antique period; patronage in late antique Jewish and Christian religious architecture; Jewish-Christian polemics and the representation of the 'Other'; the question of Jewish or Christian illuminators of Hebrew books; the cultural background of illustrations in Hebrew manuscripts; Christian cosmology and dogma; the imagery of the Temple in the chapters; and, Jewish and Christian perceptions of women.The contributors are Rivka Ben-Sasson, Walter Cahn, Evelyn Cohen, Andreina Contessa, Eva Frojmovic, Lihi Habas, Dalia-Ruth Halperin, Colum Hourihane, Emma Maayan-Fanar, Herbert L. Kessler, Katrin Kogman-Appel, Shulamit Laderman, Mati Meyer, Bezalel Narkiss, Kurt Schubert, Sarit Shalev-Eyni, Margo Stroumsa-Uzan and Rina Talgam.

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VanderKam (1989); Josephus Flavius, Antiquitates 1:13,2; for an English translation, see Feldman (2000), 88. 20 Pirqe de Rabbi Eliezer 31, Friedlander (1981), 227. 21 Schubert (1975), 14. KOGMAN_APPEL_f5_39-52.indd 48 6/27/2008 5:02:49 PM jewish art in late antiquity 49 that there was a dispute between Ishmael and Isaac as to who was the Patriarch’s rightful heir.22 Beyond doubt, the tree above the Temple image represents the Tree of Life (Fig. 5), and equating the Tree of Life with the

personification is the longest among his surviving works, comprising 703 hexameters and divided into two parts, each prefaced by a short introduction. The first part was probably delivered in the theater in front of the citizens of his city in the morning hours and the second in the afternoon of the same day. There is no indication in the text itself of the function or location of the building that housed the work of art. Nevertheless, the scholia on the ekphrasis (the source of which is unknown)

understood as an indication that the textile derives from an illustrated manuscript, only that Egypt may have been a source for the pictorial repertory common to the Christian Topography and painted cloth. The similarity of the Codex Barbarus Scaligeri and the Middle Byzantine manuscripts of the Christian Topography also extends generally to the totally blank spaces. Thus, Adam and Eve were pictured and two pictures were dedicated to Noah; in the later manuscripts, these subjects are illustrated

to come.”33 By engaging Roman models, he also was able to make a point about Christian sacred images, at least in his private chapel, that was consonant with the views he expressed in his earlier Libri carolini, namely that the Eucharist and not pictures made by human hands were the true images of Christ.34 While providing a considerable level of conformity, verbal transmission permitted and, in many ways necessitated, choice. In the manuscripts of the Christian Topography, for instance, Isaac

died in 1349 and was buried in the Cordeliers house in Paris, which had been his home and base of operations throughout much of his career.1 Lyra’s oeuvre, most authoritatively catalogued nearly a century ago by Henri Labrosse, includes, beyond his biblical commentaries, two polemical tracts directed against the Jews and a number of other writings: a commentary on Peter Lombard’s Sentences (now lost); treatises 1 There is an extensive bibliography on the author, on which the following

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