Aniconism in Judaism

Last updated
14th century hagaddah, depicting Moses leading the people (David Kaufmann collection) Illustration-haggadah-exodus.jpg
14th century hagaddah, depicting Moses leading the people (David Kaufmann collection)

Aniconism in Judaism refers to the idea that Judaism forbids the creation of "graven images," commonly understood to mean the prohibition of idolatry and idol worship. While Judaism is a logocentric religion, Jews were not under a blanket ban on visual art, despite common assumptions to the contrary, and throughout Jewish history and the history of Jewish art, created architectural designs and decorations of synagogues, decorative funerary monuments, illuminated manuscripts, embroidery and other decorative or artistic religious items. [1]

Contents

In a refutation of the belief in an aniconic Judaism, and more generally in the underestimation of Jewish visual arts, modern secular historians believe that the phenomenon is a modern construction, and that "Jewish aniconism crystallized simultaneously with the construction of modern Jewish identities". [2] According to current scholarship, the notion of a total prohibition of figural representation in the Biblical and Hellenistic-Roman periods is untenable. [3] [4]

Until the 20th century, Judaism was commonly believed to have been aniconic. The view was probably first challenged by Dávid Kaufmann, who marshalled a large and comprehensive corpus of data in order to prove it untenable. He was the first to popularize the term "Jewish art" in an article published in 1878, and is regarded as the founder of the scholarly discipline of Jewish art history. His disciple Dr. Samuel Krauss wrote in 1901:

As late as ten years ago it would have been absurd to speak about a Jewish art. It is Kaufmann's own merit to have uncovered this art. Not only did he have to prove that such an art existed, he also had to prove that it could exist, as he showed that the idea that the prohibition of images would obstruct the development of such an art was mistaken, and even established it as an irrefutable fact that the art in wide areas was not prohibited insofar as no worship was associated with it. [5]

Golden Calf, miracle of Elijah, 244-256 CE, fresco from Dura Europos synagogue Dura Europos fresco worshipping gold calf.jpg
Golden Calf, miracle of Elijah, 244-256 CE, fresco from Dura Europos synagogue

Prohibition in the Torah

A number of verses in the Torah/Tanakh refer to prohibitions against the creation of various forms of images, invariably linked directly with idolatry. The strongest source is based on what Judaism counts as the second of the Ten Commandments:

Thou shalt not make unto thee a graven image, nor any manner of likeness, of any thing that is in heaven above, or that is in the earth beneath, or that is in the water under the earth; thou shalt not bow down unto them, nor serve them; for I the LORD thy God am a jealous God, visiting the iniquity of the fathers upon the children unto the third and fourth generation of them that hate Me; and showing mercy unto the thousandth generation of them that love Me and keep My commandments.

Detail of Dayenu in the Birds' Head Haggadah Daiyyeinu manuscript.jpg
Detail of Dayenu in the Birds' Head Haggadah

Leviticus 26:1 reads:

Ye shall make you no idols, neither shall ye rear you up a graven image, or a pillar, neither shall ye place any figured stone in your land, to bow down unto it; for I am the LORD your God.

Similar injunctions appear in Numbers 33:52, Deuteronomy 4:16, and 27:15. In all cases, the creation of the image is associated with idolatry, and indeed, the words commonly translated as 'image' or some variant thereof (פסלpesel, שקוץshikuts) are generally used interchangeably with words typically translated as 'idol' (e.g. אלילelil).[ citation needed ] (An important exception is צלםtselem, used in such verses as Genesis 1:26: "let us make man in our image", where this word for 'image' was not associated with idols.)[ citation needed ]

Crossing the Red Sea, from Dura Europos synagogue, with two Hands of God, 3rd century Dura Europos fresco Jews cross Red Sea.jpg
Crossing the Red Sea, from Dura Europos synagogue, with two Hands of God, 3rd century

In traditional Orthodox Halakha

Despite the semantic association with idols, halakha (Jewish law) as taught by the Shulkhan Aruch (1563) interprets the verses as prohibiting the creation of certain types of graven images of people, angels, or astronomical bodies, whether or not they are actually used as idols. The Shulkhan Aruch states: "It is forbidden to make complete solid or raised images of people or angels, or any images of heavenly bodies except for purposes of study". [6] [ better source needed ]

A breakdown can be found in the Shulkhan Aruch, section Yoreh De'ah ( Kitzur Shulchan Aruch 168:1), which takes the literal meaning of פסלpesel as "graven image" (from the root פסלp-s-l, 'to engrave'. [7] ) The prohibition is therefore seen as applying specifically to certain forms of sculpture and depictions of the human face.

Shofar-Blower Chasing Away Satan, Mahzor, c. 1270-90, South Germany. Budapest: Library of the Hungarian Academy of Sciences (Kaufmann, Ms. A388, vol. II, f. 12v) Shofar-Blower Chasing Away Satan, Mahzor,.jpg
Shofar-Blower Chasing Away Satan, Mahzor, c. 1270–90, South Germany. Budapest: Library of the Hungarian Academy of Sciences (Kaufmann, Ms. A388, vol. II, f. 12v)

In historical periods

Art historians believe that there was a tradition in antiquity of illuminated manuscript scrolls of books from the Tanakh among Hellenized Jews that influenced Christian works of the Late Antique and Early Medieval periods whose iconography is thought to derive from works in this tradition.[ citation needed ] Examples of the later works include the Joshua Roll and, more controversially, the Utrecht Psalter.

Leipzig Mahzor, hand of God delivering Abraham from the fiery furnace, 1320 Leipzig Mahzor, Hand of God delivering Moses.jpg
Leipzig Mahzor, hand of God delivering Abraham from the fiery furnace, 1320

The 3rd century CE Dura-Europos synagogue in Syria has large areas of wall paintings with figures of the prophets and others, and narrative scenes. There are several representations of the Hand of God, suggesting that this motif reached Christian art from Judaism.[ citation needed ] A virtually unique Christian mosaic depiction of the Ark of the Covenant (806) at Germigny-des-Prés, which includes the hand, is believed also to be derived from Jewish iconography; the Ark also appears at Dura-Europos. [8] Several ancient synagogues in the land of Israel have also been excavated, revealing large floor-mosaics with figurative elements, especially animals and representations of the Zodiac.

Some of these, notably at Naaran in the West Bank, have had the living figures removed, leaving inanimate symbols such as the Temple menorah intact. [9] It has been proposed that this was done by the Jewish community in the 6th or early 7th century, as part of a controversy within Judaism over images that paralleled that within Christianity leading to the Byzantine iconoclasm, leading to a stricter attitude towards images, at least in synagogues. There is also evidence that from about 570 new synagogue mosaics were aniconic. An alternative explanation for the removals is that they were done after the Muslim conquest, and related to the decree of Caliph Yazid II in 721 (although this referred to Christian images). [10] The decoration of cave walls and sarcophagi at the Beit She'arim necropolis also uses images, some drawn from Hellenistic pagan mythology, in the 2nd to 4th centuries CE.

Some illustrations from the Middle Ages feature fantastic creaturesusually animal-headed humanoids, even when the depictions are quite clearly meant to be those of historical or mythological humans, known as zoocephalic figures. [11] A well-known example is the Birds' Head Haggadah (Germany, circa 1300). Although it is theorized that zoocephalic art is to circumvent this prohibition, the fact that some manuscripts also include human faces casts doubt on this assumption. The reasons for this illustration style are not fully understood. [12]

Illuminated manuscripts

Sacrifice of Isaac, The Hammelburg Mahzor, 1347-48, Hammelburg, Germany. University and State Library Darmstadt. Sacrifice of Isaac, The Hammelburg Mahzor.jpg
Sacrifice of Isaac, The Hammelburg Mahzor, 1347–48, Hammelburg, Germany. University and State Library Darmstadt.
Sarajevo Haggadah, Moses and Burning Bush, top, 15th c. Spain, National Museum of Bosnia and Herzegovina Sarejevohagadah.gif
Sarajevo Haggadah, Moses and Burning Bush, top, 15th c. Spain, National Museum of Bosnia and Herzegovina
13th c. image from Parma Psalter. The main figure is Asaph, the presumed author of the psalm, who beseeches: "O God, do not keep silence" Parma Psalter 118b.jpg
13th c. image from Parma Psalter. The main figure is Asaph, the presumed author of the psalm, who beseeches: "O God, do not keep silence"

A number of Jewish religious manuscripts were illustrated and include representational art, with figures such as Joel ben Simeon becoming known for their work. Archival records from medieval Iberia confirm that Jews were painters and practitioners of the fine arts. [13] A number of works survive.

See also

Notes

  1. Raphael, Melissa (2016-04-05), "Judaism and Visual Art", Oxford Research Encyclopedia of Religion, doi:10.1093/acrefore/9780199340378.013.98, ISBN   978-0-19-934037-8 , retrieved 2024-09-14
  2. "(Bland 2001:8)" (PDF). Archived from the original (PDF) on 2015-05-30. Retrieved 2012-09-19.
  3. Joseph Gutmann: "The 'Second Commandment' and the image in Judaism." In Hebrew Union College Annual 32 (1961) 161-174. [= Id.: Sacred images: Studies in Jewish art from Antiquity to the Middle Ages. [Collected studies series, CS 303]. Northampton 1989. II. 161-174].
  4. Joseph Gutmann: "Recent literature on Jewish art: a critical appraisal." In Jewish Book Annual 25 (5728/1967-1968) 167-169. See also Gabrielle Sed-Rajna's contribution to this volume.
  5. Dávid Kaufmann and his collections Library of the Hungarian Academy of Sciences. Original source: Dr. Samuel Krauss: David Kaufmann. Eine Biographie, p. 45. Berlin 1901 (1902). "Noch vor zehn Jahren wäre es absurd gewesen, von einer jüdischen Kunst zu sprechen. Diese Kunst entdeckt zu haben, ist Kaufmann's eigenstes Verdienst. Nicht nur mußte er beweisen, daß eine solche Kunst existire, er mußte auch beweisen, daß sie existiren könne, indem er die Meinung, als stehe das Bilderverbot der Kunstentfaltung im Judenthum im Wege, als irrig erwies, er es vielmehr als unwiderlegbare Thatsache hinstellte, daß die Kunst auf flachem Raume nie verboten war, insofern kein Götzendienst sich daran knüpfte."
  6. "Shulchan-Aruch - Chapter 11". Torah.org. Archived from the original on 2000-04-21. Retrieved 2012-09-19.
  7. See Exodus 34:1, 4; Deuteronomy 10:1, 3.
  8. The only ancient Jewish image of the Ark appears to be at Dura-Europos although it also appears as the oldest Jewish bible illustrations surviving, from the 10th century (see Beckwith) Beckwith, John (1988). Early Medieval Art. Brill Archive. pp. 14–16. ISBN   90-04-08115-1.
  9. Barber, 1018-1021
  10. Barber, throughout.
  11. Gertsman, Elina (2023-09-01). "'The Breath of Every Living Thing': Zoocephali and the Language of Difference on the Medieval Hebrew Page". Art History. 46 (4): 714–748. doi: 10.1111/1467-8365.12742 . ISSN   0141-6790.
  12. Kogman-Appel, Katrin (2018), "Material Culture and Art", The Cambridge History of Judaism, pp. 860–881, doi:10.1017/9781139048880.032, ISBN   978-0-521-51724-9 , retrieved 2024-09-16
  13. Mann, Vivian B. (2019-12-31), "The Unknown Jewish Artists of Medieval Iberia", The Jew in Medieval Iberia, 1100-1500, Academic Studies Press, pp. 138–179, doi:10.1515/9781618110541-007, ISBN   978-1-61811-054-1 , retrieved 2024-09-14
people dancing, Rothschild Miscellany, Mid 15th century Rothschild miscellany dancing.jpg
people dancing, Rothschild Miscellany, Mid 15th century

Related Research Articles

<span class="mw-page-title-main">Jews as the chosen people</span> Religious belief in a unique divine relationship

In Judaism, the concept of the Jews as chosen people is the belief that the Jews as a subset, via partial descent from the ancient Israelites, are also chosen people, i.e. selected to be in a covenant with God. Israelites being properly the chosen people of God is found directly in the Book of Deuteronomy 7:6 as the verb baḥar (בָּחַר), and is alluded to elsewhere in the Hebrew Bible using other terms such as "holy people" as goy or gentile, Book of Exodus 19:6. Much is written about these topics in rabbinic literature. The three largest Jewish denominations—Orthodox Judaism, Conservative Judaism and Reform Judaism—maintain the belief that the Jews have been chosen by God for a purpose. Sometimes this choice is seen by believers as charging the Jewish people with a specific mission—to be a light unto the nations, and to exemplify the covenant with God as described in the Torah. Isaiah and Jeremiah viewed God's loving choice of Israel as a means to teaching monotheism, combatting idolatry, curbing human arrogance, ending violence, lust, greed, extreme chauvinism and warfare, and ushering in a new society.

Halakha, also transliterated as halacha, halakhah, and halocho, is the collective body of Jewish religious laws that are derived from the Written and Oral Torah. Halakha is based on biblical commandments (mitzvot), subsequent Talmudic and rabbinic laws, and the customs and traditions which were compiled in the many books such as the Shulchan Aruch. Halakha is often translated as "Jewish law", although a more literal translation might be "the way to behave" or "the way of walking". The word is derived from the root which means "to behave". Halakha not only guides religious practices and beliefs; it also guides numerous aspects of day-to-day life.

<span class="mw-page-title-main">Rabbinic literature</span> Jewish literature attributed to rabbis

Rabbinic literature, in its broadest sense, is the entire spectrum of works authored by rabbis throughout Jewish history. The term typically refers to literature from the Talmudic era, as opposed to medieval and modern rabbinic writings. It aligns with the Hebrew term Sifrut Chazal, which translates to “literature [of our] sages” and generally pertains only to the sages (Chazal) from the Talmudic period. This more specific sense of "Rabbinic literature"—referring to the Talmud, Midrashim, and related writings, but hardly ever to later texts—is how the term is generally intended when used in contemporary academic writing. The terms mefareshim and parshanim almost always refer to later, post-Talmudic writers of rabbinic glosses on Biblical and Talmudic texts.

<span class="mw-page-title-main">Counting of the Omer</span> Counting of the days from Passover to Shavuot.

Counting of the Omer is a ritual in Judaism. It consists of a verbal counting of each of the 49 days between the holidays of Passover and Shavuot. The period of 49 days is known as the "omer period" or simply as "the omer" or "sefirah".

A Judensau is a folk art image of Jews in obscene contact with a large sow, which in Judaism is an unclean animal. These first appeared in the 13th century in Germany and some other European countries, and remained popular for over 600 years.

<span class="mw-page-title-main">Dura-Europos synagogue</span> Ancient synagogue in Syria

The Dura-Europos synagogue was an ancient Jewish former synagogue discovered in 1932 at Dura-Europos, Syria. The former synagogue contained a forecourt and house of assembly with painted walls depicting people and animals, and a Torah shrine in the western wall facing Jerusalem. It was built backing on to the city wall, which was important in its survival. The last phase of construction was dated by an Aramaic inscription to 244 CE, making it one of the oldest synagogues in the world. It was unique among the many ancient synagogues that have emerged from archaeological excavations as the structure was preserved virtually intact, and it had extensive figurative wall-paintings, which came as a considerable surprise to scholars. These paintings are now displayed in the National Museum of Damascus.

<span class="mw-page-title-main">Rosh Chodesh</span> First day of each Hebrew month

In Judaism, Rosh Chodesh or Rosh Hodesh is a minor holiday observed at the beginning of every month in the Hebrew calendar, marked by the birth of a new moon. Rosh Chodesh is observed for either one or two days, depending on whether the previous month contained 29 or 30 days.

Aniconism is the cultural absence of artistic representations (icons) of the natural and supernatural worlds, or it is the absence of representations of certain figures in religions. The prohibition of material representations may only extend to a specific supreme deity, or it can encompass an entire pantheon, it can also include depictions of a prophet, saints, or sages, or even depictions of living beings and anything in existence generally. It is generally codified by religious traditions and as such, it becomes a taboo. When it is enforced by the physical destruction of images, aniconism becomes iconoclasm.

Hebrew Bible English translations are English translations of the Hebrew Bible (Tanakh) according to the Masoretic Text, in the traditional division and order of Torah, Nevi'im, and Ketuvim. Most Jewish translations appear in bilingual editions (Hebrew–English).

In Judaism, a chillul hashem is an act that violates the prohibition in the Torah of desecrating (chillul) the name (hashem) of God. A chillul hashem occurs when a Jew acts immorally in the presence of others, either Jews or Gentiles. Since Judaism believes that Jews are representatives of God and his moral code, when a Jew acts in a shameful manner, they have represented God poorly, thus desecrating his name. Chillul Hashem is the opposite of a Kiddush Hashem, the act of bringing honor, respect, and glory to God's name. The concept of chillul hashem is prevalent in the Tanakh and is often referenced by modern Jews as a reason to uphold the highest moral standard.

Soncino Press is a Jewish publishing company based in the United Kingdom that has published a variety of books of Jewish interest, most notably English translations and commentaries to the Talmud and Hebrew Bible. The Soncino Hebrew Bible and Talmud translations and commentaries were widely used in both Orthodox and Conservative synagogues until the advent of other translations beginning in the 1990s.

Kevod HaBeriyot (Hebrew: כבוד הבריות; literally in Hebrew: "honor [of/due to] the [God's] creations " also variously translated as "individual dignity", "individual honor", or "human dignity" is a concept of Halakha originating in the Talmud which permits exceptions to Rabbinic decrees under certain circumstances. This concept has been used in a number of contemporary Jewish religious-law decisions in Orthodox and Conservative Judaism.

Jewish commentaries on the Bible are biblical commentaries of the Hebrew Bible from a Jewish perspective. Translations into Aramaic and English, and some universally accepted Jewish commentaries with notes on their method of approach and also some modern translations into English with notes are listed.

<span class="mw-page-title-main">David Kaufmann</span>

David Kaufmann was a Jewish-Austrian scholar born at Kojetín, Moravia. From 1861 to 1867 he attended the gymnasium at Kroměříž, Moravia, where he studied the Bible and Talmud with Jacob Brüll, rabbi of Kojetín, and with the latter's son Nehemiah.

<span class="mw-page-title-main">Thou shalt not make unto thee any graven image</span> One of the Ten Commandments

"Thou shalt not make unto thee any graven image" is an abbreviated form of one of the Ten Commandments which, according to the Book of Deuteronomy, were spoken by God to the Israelites and then written on stone tablets by the Finger of God. It continues, "... any graven image, or any likeness [of any thing] that [is] in heaven above, or that [is] in the earth beneath, or that [is] in the water under earth: Thou shalt not bow down thyself to them, nor serve them."

<span class="mw-page-title-main">Hand of God (art)</span> Jewish and Christian motif signifying divine intervention

The Hand of God, or Manus Dei in Latin, also known as Dextera domini/dei, is a motif in Jewish and Christian art, especially of the Late Antique and Early Medieval periods, when depiction of Yahweh or God the Father as a full human figure was considered unacceptable. The hand, sometimes including a portion of an arm, or ending about the wrist, is used to indicate the intervention in or approval of affairs on Earth by God, and sometimes as a subject in itself. It is an artistic metaphor that is generally not intended to indicate that a hand was physically present or seen at any subject depicted. The Hand is seen appearing from above in a fairly restricted number of narrative contexts, often in a blessing gesture, but sometimes performing an action. In later Christian works it tends to be replaced by a fully realized figure of God the Father, whose depiction had become acceptable in Western Christianity, although not in Eastern Orthodox or Jewish art. Though the hand of God has traditionally been understood as a symbol for God's intervention or approval of human affairs, it is also possible that the hand of God reflects the anthropomorphic conceptions of the deity that may have persisted in late antiquity.

Forbidden relationships in Judaism are intimate relationships which are forbidden by prohibitions in the Torah or rabbinical injunctions.

Jewish traditions across different eras and regions devote considerable attention to sexuality. Sexuality is the subject of many narratives and laws in the Tanakh and rabbinic literature.

The following outline is provided as an overview of and topical guide to Judaism:

<span class="mw-page-title-main">Birds' Head Haggadah</span> Illuminated Passover liturgical manuscript

The Birds' Head Haggadah is the oldest surviving illuminated Ashkenazi Passover Haggadah. The manuscript, produced in the Upper Rhine region of Southern Germany in the early 14th century, contains the full Hebrew text of the Haggadah, a ritual text recounting the story of Passover – the liberation of the Israelites from slavery in ancient Egypt – which is recited by participants at a Passover Seder. The text is executed in block calligraphy and accompanied by colorful illustrations of Jews performing the Seder practices and reenacting Jewish historical events.

References