I TORAH PORTION M LTER Of Harvard Row Designers of Fine Furs Complete Fur Service Art Is An Expression Of Jewish Experience RABBI RICHARD C.- HERTZ Special to The Jewish News T his week's Torah por- tion takes us to the final section of the Book of Exodus and deals with the actual construction of the ancient Sanctuary. Scripture describes in loving detail how every aspect was to be faithfully carried out. Although this Sidrah does not stand out because of its ethical or spiritual qualities, it is interesting because we catch a glimpse of a tremen- dously interesting personali- ty, Bezalel, the architect of the Sanctuary. The Torah defines the re- quirements that an architect must have to build the Sanc- tuary: "See the Lord hath called by name Bezalel .. . and He hath filled him with the spirit of God and wisdom and understanding and in Shabbat Parah, Parshiot Vayakel-Pekudei: Exodus 35:1-40:38, Numbers 19:1 - 22, Ezekiel 36:16 38 - knowledge in every kind of craft . . . and has inspired him to make designs for work in gold, silver and copper." Bezalel was in charge of all the artistic vessels of gold, silver, copper, stones and wood to be used in the building of the tabernacle in the ancient wilderness. He was the first Jewish artist. The question naturally arises, What is Jewish Art? One cannot read about Bezalel without realizing the immense influence of art upon our people. In a way, Jewish art originated in the Bible. The 'Temple in Jerusalem, with its rich ornamentation, its sacred vessels and its menorah, were succeeded in the Diaspora by synagogues where frescos, mural pain- tings and mosaic floors are to be found in the synagogues excavated from antiquity, like Dura-Europas. In the Middle Ages, the multitude of Hebrew illuminated manuscripts and Haggadot as well as various ceremonial ob- jects, all attest to the age-old use of art forms to express the Dr. Hertz is rabbi emeritus at Temple Beth El. spirit of rituals in Jewish liturgy. Yet, it is widely assumed that Judaism as a religion is antagonistic to art. The reason why Jews came so late into the field of representa- tional art is often ascribed to the Ten Commandments, where the second command- ment specifically prohibits the making of "graven im- ages." The pagan environ- ment where images were ob- jects of worship for political purposes, as in Greek and Roman times, doubtlessly em- phasized this prohibition. The ancient Israelites found art to have flourished in the cultures and civilizations sur- rounding them. The Egyp- tians and the Mesopotamians reached a high level of ar- tistry in ancient times. Solomon went to the Phoeni- cians for his top artists in building his Temple. Later on, the Greeks, with whom the ancient Jews were in constant contact, did much to spread art throughout the Hellenistic 'Mediterranean world. For pre-emancipation Diaspora Jews, the only art that existed was the art found in the synagogue: the Torah mantles, decorated Torah breastplates, often studded with semi-precious stones, Torah pointers, spice con- tainers and Kiddush cups. Jewish art was strictly ritual art. The Jewish peple con- tributed a great deal to the world in ethical culture, med- icine, music and astronomy, but were practically non- existent in the arts of pain- ting and sculpture until the approach of the 20th Century. abday we can boast of a great many modern Jewish painters from the School of Paris like Modigliani, Chagall, Mane-Katz and Soutine. We have great Jewish sculptures like Jacob Epstein, Jacques Lipschiti and Enrico Glicenstein. In pre-state Palestine, Jewish art had to start from scratch. Boris Schatz founded the School of Arts and Crafts in Palestine, which he named the Bezalel School. Schatz discovered the artistic genius of the Yemenites and en- couraged them to produce fine metal objects decorated with silver and copper. Jewish art has come full cir- cle, especially in modern Israel. 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