Judaism and Christian Art: Aesthetic Anxieties from the by Herbert L. Kessler, David Nirenberg

By Herbert L. Kessler, David Nirenberg

Christian cultures around the centuries have invoked Judaism that allows you to debate, symbolize, and comprise the hazards provided by means of the sensual nature of artwork. by means of attractive Judaism, either actual and imagined, they explored and improved the perils and percentages for Christian illustration of the fabric world.

The 13 essays in Judaism and Christian Art display that Christian artwork has constantly outlined itself in the course of the figures of Judaism that it produces. From its beginnings, Christianity faced a number of questions on visible illustration. should still Christians make artwork, or does recognition to the attractive works of human arms represent a lost emphasis at the issues of this global or, worse, a sort of idolatry ("Thou shalt make no graven image")? And if artwork is permitted, upon what kinds, motifs, and emblems should still it draw? Christian artists, theologians, and philosophers replied those questions and so forth by means of pondering and representing the connection of Christianity to Judaism. This quantity is the 1st devoted to the lengthy heritage, from the catacombs to colonialism yet with distinctive emphasis at the center a long time and the Renaissance, of the ways that Christian paintings deployed cohorts of "Jews"—more figurative than real—in order to beat, guard, and discover its personal territory.

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Extra resources for Judaism and Christian Art: Aesthetic Anxieties from the Catacombs to Colonialism

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340—now fragmentary, but see the drawing at taf. 1], probably 21 [Rep. I, no. 809, but this is fragmentary], and 29 [Rep. II, no. 146]. Some show only one personification, of the Red Sea: Rizzardi (1970), nos. 16 [Rep. III, no. 414] and 26 [Rep. 1, no. 64]. The example in Aix-en-Provence has two personifications—Rizzardi (1970), no. 1 [Rep. III, no. 21]. In the case of multiple personifications, the land of Egypt is female and the Red Sea male. On the meaning of the personifications, see Rizzardi (1970), 34, 41–42, and Noga-Banai (2007), 10, who suggests fertility for the female ones.

III, 9–10, Rizzardi (1970), 36. The photographs of the sides in Rep. III (taf. 6) are poorly angled. Better are those in J. Wilpert, I sarcophagi cristiani antichi (Rome, 1929), vol. 1, taf. 3 (left side). 31. For some play with manna, see J. Z. Smith, Relating Religion (Chicago, 2004), 118–25. 32. To use a Christian terminology for the Jewish Bible, as I do throughout, given that the Jews of this paper exist entirely within a Christian imaginaire. 38 j a s´ e l sn e r 33. The man next to Moses in the Sta Maria Maggiore mosaic panel holds a child by the hand, see Brenk (1975), 85; an Israelite man to the right in the Red Sea image carries a child on his shoulders in Cubiculum C (but not Cubiculum O) of the Via Latina Catacomb, though I have found no discussion or description of this vignette.

414; the Rome example: Rizzardi (1970), no. 26 and Rep. I, no. 64. 19. Our principal source is G. Grimaldi, Descrizione della basilica antica di S. Pietro in Vaticano, ed. R. Niggl (Vatican, 1972), 140, with discussion by H. Kessler, Old St. Peter’s and Church Decoration in Medieval Italy (Spoleto, 2002), 9, 53, 76–77, 98–99. Note that the Red Sea theme did not appear in the very close replica (also probably fourth century and now lost) of the St. Peter’s frescoes in the basilica of St. 9). 20.

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