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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.
This is the first of a two-volume bible commentary covering the Psalms and examining the role of these biblical poems throughout Jewish and Christian history. Provides a fascinating introduction to the literary, historical, and theological background of psalmody Examines the psalms through liturgy and prayer, study and preaching, translation and imitation, and musical composition and artistic illustration Includes illustrations of significant psalms, helpful maps, and an extensive bibliography; an expanded bibliography to accompany the book is also available at www.wiley.com/go/gillingham A forthcoming second volume is planned, which will take an alternative psalm-by-psalm approach Now available in paperback, and published in the innovative reception-history series, Blackwell Bible Commentaries
Who were the medieval illuminators? How were their hand-produced books illustrated and decorated? In this beautiful book Jonathan Alexander presents a survey of manuscript illumination throughout Europe from the fourth to the sixteenth century. He discusses the social and historical context of the illuminators' lives, considers their methods of work, and presents a series of case studies to show the range and nature of the visual sources and the ways in which they were adapted, copied, or created anew. Alexander explains that in the early period, Christian monasteries and churches were the main centers for the copying of manuscripts, and so the majority of illuminators were monks working in and for their own monasteries. From the eleventh century, lay scribes and illuminators became increasingly numerous, and by the thirteenth century, professional illuminators dominated the field. During this later period, illuminators were able to travel in search of work and to acquire new ideas, they joined guilds with scribes or with artists in the cities, and their ranks included nuns and secular women. Work was regularly collaborative, and the craft was learned through an apprenticeship system. Alexander carefully analyzes surviving manuscripts and medieval treatises in order to explain the complex and time-consuming technical processes of illumination - its materials, methods, tools, choice of illustration, and execution. From rare surviving contracts, he deduces the preoccupation of patrons with materials and schedules. Illustrating his discussion with examples chosen from religious and secular manuscripts made all over Europe, Alexander recreates the astonishing variety and creativity ofmedieval illumination. His book will be a standard reference for years to come.
For two-and-a-half millennia these two psalms have been commented on, translated, painted, set to music, employed in worship, and adapted in literature, often being used disputatiously by Jews and Christians alike. Psalm 1 is about the Law; at the heart of Psalm 2 is the Anointed One ('Messiah'), and together they serve as a Prologue to the rest of the Psalter. They have frequently been read as one composite poem, with the Temple as one of the motifs uniting them. So three themes—Jewish and Christian disputes, the interrelationship of these psalms, and the Temple—are interwoven throughout this reception history analysis. The journey starts in ancient Judaism, moves on to early Christianity, then to rabbinic and medieval Judaism, and so to Christian commentators from the early Middle Ages to the Reformation. The journey pauses to look at four important modes of reception—liturgical use, visual exegesis, musical interpretation, and imitation in English literature. Thirty-eight colour plates and numerous musical and poetic examples bring the work to life. The journey continues by looking at the debates about these psalms which have occupied scholars since the Enlightenment, and ends with a chapter which surveys their reception history in the light of the three key themes.
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.
This book tells the largely unfamiliar story of intellectual transmission, cultural exchange and practical cooperation, social interaction, and religious toleration between Jews and non-Jews in the Muslim as well as Christian world during the late Middle Ages. The story is composed of ten narratives, each of which brings to light a different aspect of Jewish life in a non-Jewish medieval society. The book is beautifully illustrated with images from the Hebrew holdings at the Bodleian Library, one of the largest and most important collections of Hebrew manuscripts worldwide. They range from Christian codex fragments as early as the 3rd century to a copy of Moses Maimonides' Mishneh Torah signed by Maimonides himself.
Provides an introduction to the literary, historical, and theological background of psalmody. Examines the psalms through liturgy and prayer, study and preaching, translation and imitation, and musical composition and artistic illustration. Includes illustrations of significant psalms, helpful maps, and an extensive bibliography. --From publisher's description.
Representing four centuries of collecting and 1000 years of Jewish history, this book brings together extraordinary Hebrew manuscripts and rare books from the Bodleian Library and Oxford colleges. Highlights of the collections include a fragment of Maimonides' autograph draft of the Mishneh Torah; the earliest dated fragment of the Talmud, exquisitely illuminated manuscripts of the Hebrew Bible; stunning festival prayerbooks and one of the oldest surviving Jewish seals in England. Lavishly illustrated essays by experts in the field bring to life the outstanding works contained in the collections, as well as the personalities and diverse motivations of their original collectors, who include Archbishop William Laud, John Selden, Edward Pococke, Robert Huntington, Venetian Jesuit Matteo Canonici, Benjamin Kennicott and Rabbi David Oppenheim. Saved for posterity by religious scholarship, intellectual rivalry and political ambition, these extraordinary collections also detail the consumption and circulation of knowledge across the centuries, forming a social and cultural history of objects moved across borders, from person to person. Together, they offer a fascinating journey through Jewish intellectual and social history from the tenth to the twentieth century.