Jewish Book Art Between Islam And Christianity

This book discusses the decoration types of Sephardic illuminated Bibles in their broader historical, and social context in an era of cultural transition in Iberia and culture struggle within Spanish Jewry.

The art of the three Abrahamic religions—Christianity, Judaism, and Islam—has a tangled, interwoven history. Symbols cross back and forth among the three faiths, adapted to reflect that faith's specific spiritual needs. And much of this symbolic language predates any of the Abrahamic faiths entirely.In Our Sacred Signs, Ori Soltes traces the interconnectedness of religious symbols such as the Star of David, which isn't, it turns out, exclusive to Judaism at all. He shows that the various ways that Jesus is portrayed on the cross recall an artistic tradition that is in no way unique to Christianity. And he shows that religious architectural conventions as simple as the dome represent early “pagan” traditions.The narrative—essentially a series of overlapping stories—moves through the halls of museums and off to the holy sites of the three religions, tracing the millennia-long artistic trail that has endured even as the West moved toward secularization in the last three hundred years.Soltes shows us how art has long been used as an instrument to take us where words cannot follow. Our Sacred Signs is a breathtaking and revelatory journey through human history, its gods, and its art.

This book discusses the decoration types of Sephardic illuminated Bibles in their broader historical, and social context in an era of cultural transition in Iberia and culture struggle within Spanish Jewry.

Demonstrating that similarities between Jewish and Christian art in the Middle Ages were more than coincidental, Cultural Exchange meticulously combines a wide range of sources to show how Jews and Christians exchanged artistic and material culture. Joseph Shatzmiller focuses on communities in northern Europe, Iberia, and other Mediterranean societies where Jews and Christians coexisted for centuries, and he synthesizes the most current research to describe the daily encounters that enabled both societies to appreciate common artistic values. Detailing the transmission of cultural sensibilities in the medieval money market and the world of Jewish money lenders, this book examines objects pawned by peasants and humble citizens, sacred relics exchanged by the clergy as security for loans, and aesthetic goods given up by the Christian well-to-do who required financial assistance. The work also explores frescoes and decorations likely painted by non-Jews in medieval and early modern Jewish homes located in Germanic lands, and the ways in which Jews hired Christian artists and craftsmen to decorate Hebrew prayer books and create liturgical objects. Conversely, Christians frequently hired Jewish craftsmen to produce liturgical objects used in Christian churches. With rich archival documentation, Cultural Exchange sheds light on the social and economic history of the creation of Jewish and Christian art, and expands the general understanding of cultural exchange in brand-new ways.

The essays collected in this volume present a multi-faceted range of scholarship from late antique synagogues, Jewish funerary art, early Christian and Byzantine mosaics, to Byzantine and Jewish book art, and the representation of the Old Testament in Western manuscripts.

This book represents the culmination of David Nirenberg s ongoing project; namely, how Muslims, Christians, and Jews lived with and thought about each other in the Middle Ages, and what the medieval past can tell us about how they do so today. There have been scripture based studies of the three religions of the book that claim descent from Abraham, but Nirenberg goes beyond those to pay close attention to how the three religious neighbors loved, tolerated, massacred, and expelled each otherall in the name of Godin periods and places both long ago and far away. Whether Christian Crusaders and settlers in Islamic-ruled lands, or Jewish-Muslim relations in Christian-controlled Iberia, for Nirenberg, the three religions need to be studied in terms of how each affected the development of the other over time, their proximity of religious and philosophical thought as well as their overlapping geographies, and how the three neighbors define (and continue to define) themselves and their place in the here-and-nowand the here-afterin terms of one another. Arguing against exemplary histories, static models of tolerance versus prosecution, or so-called Golden Ages and Black Legends, Nirenberg offers here instead a story that is more dynamic and interdependent, one where Muslim, Jewish, and Christian communities have re-imagined themselves, not only as abstractions of categories in each other s theologies and ideologies, but by living with each other every day as neighbors jostling each other on the street. From dangerous attractions leading to interfaith marriage, to interreligious conflicts leading to segregation, violence, and sometimes extermination, to strategies of bridging the interfaith gap through language, vocabulary, and poetryNirenberg aims to understand the intertwined past of the three faiths as a way for their heirs to coproduce the future."

In this volume, Jacob Lassner examines the triangular relationship that during the Middle Ages defined - and continues to define today - the political and cultural interaction among the three Abrahamic faiths.

"In this way the culture of medieval Spain is relevant to our own world both enriched and anguished by its diversity. The Arts of Intimacy is a vital book, dedicated to telling the story of the complexity of interactions between the three monotheistic religions in medieval Spain - yielding lessons that can be drawn through to our experience today. The volume serves as a souvenir of Spanish history and culture, and an invitation to examine how a complex culture is deeply shaped by both receptivity and conflict."--BOOK JACKET.

According to a longstanding interpretation, book religions are agents of textuality and logocentrism. This volume inverts the traditional perspective: its focus is on the strong dependency between scripture and aesthetics, holy books and material artworks, sacred texts and ritual performances. The contributions, written by a group of international specialists in Western, Byzantine, Islamic and Jewish Art, are committed to a comparative and transcultural approach. The authors reflect upon the different strategies of »clothing« sacred texts with precious materials and elaborate forms. They show how the pretypographic cultures of the Middle Ages used book ornaments as media for building a close relation between the divine words and their human audience. By exploring how art shapes the religious practice of books, and how the religious use of books shapes the evolution of artistic practices this book contributes to a new understanding of the deep nexus between sacred scripture and art.