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April 12, 1946 - Image 8

Resource type:
Text
Publication:
The Detroit Jewish News, 1946-04-12

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Page Eight

THE JEWISH NEWS

Friday, April 12, 1946

Jewish Art and Culture

"Thou shalt not make unto thee a graven image, nor any manner of likeness, or anything that is in The
heaven above, or that is in the earth beneath, or that is in the water under the earth." — Ex. 20.4.

By CHARLES E. FEINBERG

HERE is no question that the above interdiction restrict-
ed the Jewish Artist. Even with the gradual breakdown
of the observance of this commandment—he did little of import-
ance in the plastic and graphic arts until the early 19th century.
Most of us are familiar with what is loosely termed Jewish
Art—a Jewish subject by a Jewish artist. They are very
pleasing and some are real works of art—regardless of the choice
of subject. We easily can identify the chassidic influence in a
Chagall painting, the beauty of the bearded patriarch produced
by Isidore Kaufman, the synagogues scenes painted by Hyman
Bloom, the Talmudic groups painted by Max Weber and many
others.
Art—to be truly great—has to grow out of the consciousness
of the people and the art upon which the Jew worked his beauty
was native to his faith and to that extent distinctive. There did
exist examples of Mosaics used in synagogues in the 5th and 6th
centuries. Mural painting of the ceiling and walls of the Horb
Synagogue at Bamberg. Elaborate iron grill work—of the "Bima"
of the old synagogue of Cracow.
In Monheim—the synagogue built in 1705 and converted into
a Town Hall in 1741—still has a ceiling with Biblical scenes and
characters carved in stucco. Other synagogues had wondrously
carved Arks that were done by Jewish Craftsmen inspired 'with
religious fervor.

• • •

THE BRITISH MOSEUM ha. several fine examples of He-
brew Manuscripts—one of .the 9th century. Another is an illum-
inated prayer book—done in France about 1278. The pictures in
gold and various bright colors show Moses striking the rock.
Another Hebrew prayer book done in Italy in 1383—shows a ,
rabbi teaching children. Several examples of early prayer books
are included in this exhibition from the collection of the Jewish
Theological Seminary, including one that undoubtedly was used
in the synagogue at Bamberg.

Charles E. Feinberg of Detroit is an outstanding authority on ceremonial objects. This
article is based on the text of an address he delivered recently in Toronto, on the occasion of
the opening of a great Jewish art exhibit at the Toronto Art Museum. In the photograph,
left to right, are: MR. AND MRS. FEINBERG and DR. C. T. CURRELLY, curator of the
Toronto museum.

The illumination of the Hagadah was a work of art. ,The
Darmstadt Hagadah consisted of 26 folio size pages of minia-•
tures and illumination. Another famous. Haggadah is
the one of the 13th century, now in the collection of the
post. These have been made in all metals, from iron
John Rylands Library at Manchester.
to silver and of all kinds of wood.
Jewish art also is expreSsed in early examples of
Then there is the importance of Sabbath in the
calendars. A few exist as early as the 13th and 14th
centuries.
home. The Sabbath is inaugurated by blessing and
lighting of the candles by the mother. The candle-
sticks have been of three and five arms made of sil-
ver or of brass. Of the individual candlesticks many
have various designs. There exist complete sets of
Sabbath plates—made of pewter—early 16th century
—with Hebrew inscriptions and the monogram in
Hebrew for the family for whom they were fashioned.
Upon the closing of the Sabbath, the ceremony of
e Habdalah is terminated with a blessing over a cup
of wine. Thsere is a plate for the cup as it must be
filled to overflowing. In addition a wax candle and a
box containing some spices are used. The spice box has
many interesting basic designs and the variations are
as many as man can devise. Originally -they were de-
signed as castles with overhanging buttresses, with flags
flying, but with a door opening to permit the smelling
of the spices.

• •
THERE ARE MINIATURE 'spice boxes used by
the women to ease their fast during the Day of Atone- .
ment. Some are fashioned like flowers—with the
petals opening to permit the smelling of the spices—
beautifully enamelled on the inside of the box. Pass-
over has its own distinctive art—its own ceremonial
objects. The Seder plate has been made of silver—
• pewter and ceramics. Depicting scenes associated with
Pewter plate, with Passover Iamb in star pattern, as the Bible and the Exodus from Egypt—or scenes and
done by 18th Century German artist. From Hebrew characters from the Hagadah.
Union College Museum.
The Matzoh holder made of silver—highly orna-
mented—with separate compartments for the differ-
Another form of Jewish ceremonial art is the ent pieces of Matzoh. A beautiful example is pie=
"Mizrach." Usually arranged in the form of a Men- turned in •a recent book for children—which many
orah and inscribed with the 67th Psalm and other grown-ups can read with benefit—titled "One God."
Biblical Passages—sometimes illuminated with the Silver holders of various designs are also , used for
Crowns of Law—priesthood and kingdom—the "shield
of David" and with flowers. Usually hung on the
.. eastern wall of a house or in front of • the praying
desk ',in the synagogue to indicate the direction when
at prayer—so as to be turned toward Jerusalem. In
the synagogue Jewish Art is represented by the Ark
with its Torahs, encased in covers of richly embroid-
ered silks and velvets—occasionally a cover of copper
inlaid with silver. These silver ornaments were made
in different forms, usually of tapering towers sur-
mounted by crowns and ornamented with Rimonim.

• •

ANOTHER ITEM of Torah decorition is the
Breastplate—usually made of silver. Some have semi-
precious stones representing the twelve tribes of Israel.
The basis of - design is two curtains parted at the top
—symbolizing the entrance to
the holy of holies. They are
surmounted by a crown (the
Crown of the Law) which is
supported by two lions. An-
other item of Torah cere-
monial silver is the Yad. Used
as a pointer—it terminates in
the figure of a hand with index
finger extended. The reader
uses it while pointing to the
text in the reading of the por-
tion. It is made of silver and
combinations of silver and
ivory and of olive wood from
Jerusalem

The synagogue also has a
Ner Torrid, the perpetual light.
Suspended by chains, joined
together by links, some links
haVe been fashioned in the
Shape of coiled double-headed
18th Century Seder
Goblet, last at Bres-
serpents. Coming home, there
lau Museum.
is the Mezzuzah on the door

Hanukah—with its lamps made of every metal-
. copper, brass, silver and pewter—gave another oppor-
tunity for art expression.
On Sukkoth—the Feast of the Tabernacles—many
of the Sukkahs were decorated with tablets—manu-
scripts on parchment . inscribed with passages from the
Bible. The use of the Lulab and Esrog gave the sil-
versmith another opportunity to fashion a ceremonial
object of beauty—the Esrog box. Sometimes made in
the shape of the Esrog itself, it usually had the bless-
ing engraved in Hebrew.

• •
THE ART OF JEWISH wedding rings is interest-
ing. These were made of gold and sometimes embell-
ished with enamels of different colors. One ring that
I have seen was made in the form of two hands linked.
Another design shows the temptation of 'Adam—and
others are engraved with designs of a Menorah—the
blowing of the shofar . and others with Hebrew letters.
Another old custom was the presentation of be-
trothal girdles usually made of silver. These were
given'to the bride by the rabbi on behalf of the bride-
groom—and to the bridegroom by the mother of the
bride—on the Thursday before the wedding.
Another, foi:m of
Jewish Art is ex-
pressed in the form
and decoration of
the tombstone. In
Coblentz—the Jew-
ish Cemetery con-
tained many 13th
and 14th century
tombstone both
• painted and carved.
The design's were
varied: Usually a
bird — the . dove —
sometimes a pea-
cock—a symbol of
immortality — al-
ways a. floWer —
sometimes a lion. A
few are carved
showing Tablets
and a crown —
others have a Me-
norah.
These designs run
all through the
ceremonial arts and
are consistent as to
the pattern of re-
ligious observance .-,
Moses and the Israelites Crossing
and customs.
the- Red Sea" from a contempo-
It would be grat-
rary Haggadah by Jacob
ifying to see a re-
Steinhardt.
vival of the making
of ceremonial objects to enrich the splendor of the
divine service as well as the revival of their use in
religious customs of the home.

This art, formed in the shadow of the ghetto, should
flourish in the countries that still permit freedom of
worship.

"The Seder Meal" by a modern American artist, A.
Raymond Katz, from "A History of Jewish Art" by
Dr. Franz Landsberger, a new publication of the Union
• of American Hebrew Congregations.

Betzoh or the roasted egg. For Haroseth a silver or
enamelled saucer and spoon are provided and there
is always a large silver cup of Elijah.

Purim or the Feast of Esther brings us the
parchment scroll either plain or with marginal illum-
inations illustrating the events narrated in the book.
It would be gratifying to see a revival of the mak-
ing of ceremonial objects to enrich the splendor of the
divine service as well as the revival of their use in
religious customs of the home.
This art, formed in the shadow of the ghetto, should
flourish in the countries that still permit freedom of
worship.

"A History of Jewish Art"

The Passover illustrations on this page are
reproduced from "A History of Jewish Art" by
Dr. Franz Landsberger of the faculty of Hebrew
Union College, Cincinnati. Published by the
Union of Anierican Hebrew Congregations, this
volume gives a description of Jewish art in life
and presents an historical treatment of Jewish
art from its beginnings, through the ages, to our
own day. It is a most fascinating volume„ a
review of which will appear • in a later issue of
The Jewish News.

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