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Christian cultures across the centuries have invoked Judaism in order to debate, represent, and contain the dangers presented by the sensual nature of art. By engaging Judaism, both real and imagined, they explored and expanded the perils and possibilities for Christian representation of the material world. The thirteen essays in Judaism and Christian Art reveal that Christian art has always defined itself through the figures of Judaism that it produces. From its beginnings, Christianity confronted a host of questions about visual representation. Should Christians make art, or does attention to the beautiful works of human hands constitute a misplaced emphasis on the things of this world or, worse, a form of idolatry ("Thou shalt make no graven image")? And if art is allowed, upon what styles, motifs, and symbols should it draw? Christian artists, theologians, and philosophers answered these questions and many others by thinking about and representing the relationship of Christianity to Judaism. This volume is the first dedicated to the long history, from the catacombs to colonialism but with special emphasis on the Middle Ages and the Renaissance, of the ways in which Christian art deployed cohorts of "Jews"—more figurative than real—in order to conquer, defend, and explore its own territory.
One of the fist works to consider art as a serious source of historical knowledge about the Jews and the ideological constructs developed around them by Christian thinkers and artists, this "picture atlas" demonstrates in a way no text can how Jews were seen through Christian eyes.
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.
"Beginning in the Third Century with frescoes in the catacombs of Rome, public art began to illustrate the doctrine of supersessionism. This analysis of a millennium of Christian art outlines the path by which Christians reinterpreted the Hebrew Scriptures to prove they foretold the ascendancy of Christianity. Starting with a solid introduction to the origins of Christianity and the beginnings of Christian art in the catacombs of Rome, Henry Claman skillfully demonstrates the development of the anti-Jewish message of Christian art. The study culminates with analyses of the majestic cathedral at Chartres, the public burning of the Talmud in Paris in 1248, and the expulsion of the Jews from France and England."--BOOK JACKET.Title Summary field provided by Blackwell North America, Inc. All Rights Reserved
This volume contains essays dealing with complex relationships between Judaism and Christianity, taking a bold step, assuming that no historical period can be excluded from the interactive process between Judaism and Christianity, conscious or unconscious, as either rejection or appropriation
Maia Kotrosits challenges the contemporary notion of “early Christian literature,” showing that a number of texts usually so described—including Hebrews, Acts, the Gospel of John, Colossians, 1 Peter, the letters of Ignatius, the Gospel of Truth, and the Secret Revelation of John—are “not particularly interested” in a distinctive Christian identity. By appealing to trauma studies and diaspora theory and giving careful attention to the dynamics within these texts, she shows that this sample of writings offers complex reckonings with chaotic diasporic conditions and the transgenerational trauma of colonial violence.
"Examines the influential role of visual images in reinforcing the efforts of Spain's Christian-ruled kingdoms to renegotiate the role of their Jewish minority following the territorial expansions of the twelfth and thirteenth centuries"--Provided by publisher.
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 embeds Rembrandt's art in the pluralistic religious context of seventeenth-century Amsterdam, arguing for the restoration of this historical dimension to contemporary discussions of the artists. By incorporating this perspective, Zell confirms and revises one of the most forceful myths attached to Rembrandt's art and life: his presumed attraction and sensitivity to the Jews of early modern Amsterdam."--BOOK JACKET.
Published on the occasion of the exhibition organized by the Kimbell Art Museum and shown there November 18, 2007 - March 30, 2008.