Jerusalem in Art Research Papers

Guide für die Erlöserkirche in Jerusalem, 1898 eingeweiht

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- by Jürgen Krüger
- •
- 4
  Protestantism, Jerusalem, Jerusalem in Art, Kaiser Wilhelm II

Hallel. Carmel. Bezalel The Exhibitions: Halel. Carmel Winery 'Judaica Now!': Goblets and Kiddush Cups of the Bezalel School These two exhibitions: "Halel. Carmel Winery" and "'Judaica Now!': Goblets and Kiddush Cups of the Bezalel... more

Hallel. Carmel. Bezalel

The Exhibitions:
Halel. Carmel Winery
'Judaica Now!':
Goblets and Kiddush Cups
of the Bezalel School

These two exhibitions: "Halel. Carmel Winery" and
"'Judaica Now!': Goblets and Kiddush Cups of the Bezalel
School" focus on two pioneering phenomenon. Both of them,
each one in its own specific field, established a material
and cultural infrastructure for the renewal of the Jewish
settlement in Eretz Israel. The two integrated exhibitions
presented here show the primary aspects where these two
enterprises overlap. The principal point here is the fact that
their produce, wine in Rishon Le‑Zion and art in Bezalel,
symbolized the regenerated Jewish settlement. Moreover,
most of their products were purchased by Jews in the
Diaspora as an emotional gesture of love for Eretz Israel
together with a contribution for the realization of the idea
for its settlement.
The "Halel. Carmel Winery" exhibition tells the story of
the winery from its historical perspective. The winery
symbolized the realization of the dream of settling
Eretz Israel. Thus, it became a source of pride and a center
of attraction for the leaders of the people and the world
who pinned their hopes on it and visited the winery. The
historical exhibition aims to show how innovative the
Rishon Le-Zion winery was during its early years as it was
recognized as the prominent modern agricultural-industrial
plant in the Middle Eastern region. The winery played a key
role in the economic life of Rishon Le-Zion and the Jewish
settlements in the surrounding area. The exhibition displays
its development, achievements, challenges, transitions,
connections with the Diaspora and how it influenced
Rishon Le-Zion and the Yishuv in Eretz Israel. The exhibition
focuses mainly on the first few decades of the winery's
existence which were also the most momentous years in
its history, during which a modern industrial model was
developed leading to a breakthrough in the country.
The Bezalel exhibition 'Judaica Now'!: Goblets and
Kiddush Cups of the Bezalel School"is displayed from the
contemporary artistic standpoint. In this exhibition also
some 48 exhibits of contemporary wine and Kiddush cups,
handmade by artists and designers belonging to the Bezalel
School, are displayed. The philosophy and artistic language
of the School's members, men and women, were apparent as
expressed in the holy vessels and articles. The participants in
this group show had all attended Bezalel either as students
or teachers, some served as department heads. A large
group among these artists later became the elite of leading
Judaica artists, whose creations now enrich the collections of
important museums in Israel and throughout the world.

Curators:
"Hallel. Carmel Winery": Yona Shapira
"'Judaica Now!': Wine goblets and Kiddush cups of the
Bezalel School": Dr. Shirat‑Miriam Shamir, Ido Noy

הלַלֵּ. כרמל. בצלאל
התערוכות:
הַללֵּ. יקב כרמל
'יודאיקה עכשיו!':
כוסות וגביעי יין לקידוש
של אסכולת בצלאל

שתי התערוכות עוסקות בשני מפעלים חלוציים: יקב ראשון־לציון
ובית הספר לאמנויות "בצלאל". שניהם, כל אחד בתחומו, הניחו
תשתית חומרית ותרבותית ליישוב היהודי המתחדש בארץ ישראל.
שתי התערוכות המוצגות במשולב, מציגות את נקודות ההשקה בין שני
המפעלים. העיקרית שבהן היא העובדה שתוצריהם, היין ואמנות בצלאל,
היוו סמל ליישוב היהודי המתחדש ונרכשו על ידי יהודי הגולה כמחווה
רגשית של אהבת ארץ ישראל וכתרומה למען הגשמת הרעיון של
יישובה. היקב מוצג מן הזווית ההיסטורית ואילו בצלאל מוצג מנקודת
מבט אמנותית עכשווית.
היקב היה סמל להגשמת חזון יישוב ארץ ישראל, מקור לגאווה ואבן
שואבת למנהיגי עם ועולם שנשאו עיניהם אליו וביקרו בו. התערוכה
"הלל. יקב כרמל" מבקשת להציג את החדשנות של יקב ראשון־לציון
בשנותיו הראשונות כמפעל תעשיה חקלאית מודרני הבולט במרחב
המזרח התיכון ועומד במרכז חיי הכלכלה של ראשון־לציון ומושבות
הסביבה. בתערוכה מוצגים התפתחותו, הישגיו, אתגריו, גלגוליו,
קשריו עם הגולה והשפעתו על ראשון־לציון ועל הישוב בארץ־ישראל.
עיקר התערוכה עוסק בעשורים הראשונים לקיום היקב שהיו השנים
המשמעותיות בתולדותיו שבמהלכן עוצב בו מודל תעשייתי חדשני
ופורץ דרך בארץ.
התערוכה, "׳יודאיקה עכשיו!׳: כוסות וגביעי יין לקידוש של אסכולת
בצלאל" מציגה 48 גביעי יין וקידוש עכשוויים מעשה ידיהם של אמנים
ומעצבים השייכים לאסכולת בצלאל. מהתערוכה ניבטת תפיסת העולם
ושפתם האמנותית של חברי וחברות האסכולה כפי שאלו מקבלות ביטוי
בתשמישי קדושה. משתתפי התערוכה הקבוצתית, עברו כולם בבצלאל:
בין שלמדו או שלימדו בו או בין שהובילו אותו כראשי המחלקות. חלק
נכבד מאמנים אלה נעשו לאמני היודאיקה המובילים, שיצירותיהם
מעטרות את אוספי המוזיאונים החשובים בישראל ובעולם.

אוצרים:
הלל, יקב כרמל: יונה שפירא
'יודאיקה עכשיו!': כוסות וגביעי יין לקידוש
של אסכולת בצלאל: ד"ר שירת־מרים שמיר ועידו נוי

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- by Shirat-Miriam Shamir and +1
  Ido Noy
- •
- 145
  Business, Art History, Jewish Studies, Design

Between Jerusalem and Europe: Essays in Honour of Bianca Kühnel analyses how Jerusalem is translated into the visual and material culture of medieval, early modern and contemporary Europe, and in what ways European encounters with the... more

The late Antique mosaic of Orpheus decorated a small room, approximately 18 m2 in area, connected with two even smaller ones, in 4 m2 and the other 2 m2 in area, belonging most likely to a small funerary chapel (or tomb) discovered in the... more

Marking the ftieth anniversary of the Israeli occupation of the old city of Jerusalem in the war of 1967 this book examines the role of the Temple Mount as a key visual icon in a variety of cultural arenas in Israel. By analyzing... more

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- by Noa Hazan and +3
  Haim Yacobi
  Yael Padan
  Avital Barak
- •
- 20
  Archaeology, Art History, Architecture, Photography

Tracce di una presenza umana ininterrotta fin dalla preistoria e due millenni di devozione cristiana fanno dell’area del Santo Sepolcro un luogo unico al mondo: una stratificazione fittissima di memorie, segni , immagini e liturgie, nella... more

"This paper proposes three new (and tentatively, another two) identifications of sundials in Middle Eastern mosaics of the 5th – 8th century. The author discusses a vignette from the Holy Martyrs’ Church at Tayibat al-Imâm, central Syria,... more

The International Order Is Failing to Protect Palestinian Cultural Heritage By SALAH AL-HOUDALIEH 6 JUN 2024 NEW FOLDER BOOKS Les quatre lettres de Gaza suscitent partout l’émotion et la passion. Sur les 360 kilomètres carrés de ce... more

The International Order Is Failing to Protect Palestinian Cultural Heritage By SALAH AL-HOUDALIEH 6 JUN 2024
NEW FOLDER BOOKS
Les quatre lettres de Gaza suscitent partout l’émotion et la passion. Sur les 360 kilomètres carrés de ce territoire coincé entre la Méditerranée, Israël et l’Égypte, un million et demi de personnes vivent au jour le jour, dans ce qui a pu être qualifié de « plus grande prison à ciel ouvert du monde1 ». Le retrait israélien de septembre 2005 a certes mis fin à trente-huit années d’occupation physique, avec le démantèlement des colonies qui accaparaient le quart de cet étroit espace. Mais Gaza est demeurée ostracisée, « bouclée », puis assiégée, tandis que les rivalités entre factions palestiniennes s’y exacerbaient.
18102023
Découverte de 4 tombes romaines vieilles de 2.000 ans sur un chantier à Gaza 250923
Tomb of the Virgin Mary in Jerusalem on the Mount of Olives
Communiqué on excavation work in the area in front of the Aedicule of the Holy Sepulchre 10072023
L'église Qalb Lozeh dans la province d'Idleb 16062023
Professeur Paolo Matthiae 13062023
CHAPTER I
Dar Al Consul Project Video final
II-a- Cisjordanie : une mosaïque géante présentée au public à Jéricho, après des années de restauration
II-b-Une mosaïque exceptionnelle dévoilée à Jéricho
CHAPTER III
Research Papers
The Citadel of Jerusalem: A Case Study in the Cultural Appropriation of Archaeology in Palestine
CHAPITRE III - Palmyre
PREAMBLE
The cultural appropriation of archaeology is a form of structural violence. The term ‘cultural appropriation’ is generally applied when the subject culture is a minority culture or somehow subordinate in social, political, economic, or military status to the appropriating culture; where a more powerful culture raids a less powerful neighbouring one; or when there are other issues involved such as a history of ethnic or racial conflict between the two groups. It can include the appropriation of various forms of cultural heritage, such as dress, food, music, art, icons, rituals, language, religion, holy places, historical and archaeological sites. These elements, once removed from their indigenous cultural contexts, may take on meanings that are significantly divergent from, or merely less nuanced than, those they originally held.
We begin this volume with two publications: West Bank: A Giant Mosaic Presented to the Public in Jericho, After Years of Restoration;
Study in the Cultural Appropriation of Archaeology in Palestine

Holy sites, both public - churches, monasteries, shrines - and more private - domestic chapels, oratories - populated the landscape of medieval and early modern Europe, providing contemporaries with access to the divine. These sacred... more

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- by Andrew Spicer
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- 45
  Medieval History, Early Modern History, Medieval Studies, Ritual

Artistic Representations of the Temple Menorah in Jerusalem and the Catacumbas of Villa Torlonia, Rome: Between Archaeological Regality and Historical Memory

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- by Yuval Baruch and +1
  Alexander Wiegmann
- •
- 16
  Photogrammetry, Second Temple Judaism, Documentary Photography, Jerusalem

Sundials in Roman and Byzantine Mosaics (1st – 9th Century AD). A scientific monograph. The sundials on ancient mosaics have not been the subject of scientific studies so far. The author has gathered together in this publication the... more

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- by Shalom Sabar
- •
- 12
  Jewish Studies, Jewish History, Iranian Jews, Jewish Artists

- AN EXCEPTIONAL BYZANTINE MOSAIC
- A REPRESENTATION OF JERUSALEM IN THE 6th CENTURY
- UNE MOSAÏQUE BYZANTINE EXCEPTIONNELLE
- UNE REPRÉSENTATION DE JÉRUSALEM AU VIe SIÈCLE

A lo largo de su historia el Imperio romano tuvo que hacer frente a numerosas revueltas, debido al enorme territorio que controlaba. De entre los pueblos que las protagonizaron, los hebreos se contaban entre los que con mayor insistencia... more

A lo largo de su historia el Imperio romano tuvo que hacer frente a numerosas revueltas, debido al enorme territorio que controlaba. De entre los pueblos que las protagonizaron, los hebreos se contaban entre los que con mayor insistencia lucharon por recuperar su independencia. En cuanto a los diversos conflictos que enfrentaron a judíos y romanos, la que, a la postre, seria recordada como la Primera Guerra Judeo-romana (66-73 d.C.) pasó a la historia como el más importante de todos. Ello se debe tanto a que requirió de la participación de dos futuros emperadores al mando de las tropas romanas que debían restablecer la paz en la provincia de Judea, Vespasiano y su hijo Tito, como al hecho de que la ciudad de Jerusalén y el Gran Templo que albergaba acabaron completamente destruidos.

En el año 66 d.C. numerosos factores se unieron al odio que sectores radicales hebreos sentían hacia sus conquistadores romanos, provocando la caída del procurador de Judea, Gesio Floro, y la derrota del Legado de Siria, Cestio Galo, en Beth Horón, quien acudió con sus tropas a pacificar la región sin conseguirlo. El movimiento fue cobrando fuerza tras estos éxitos, y Jerusalén se convirtió en el epicentro del independentismo judío. Roma no podía permanecer pasiva ante estos acontecimientos y Nerón envió allí a Vespasiano, un general experimentado, para acabar de una vez por todas con el problema. La resistencia implacable que demostraron los rebeldes y los problemas políticos que, durante ese tiempo, se produjeron en Roma, provocaron que la conquista final quedara en manos de su capaz hijo Tito quien, a la postre, consiguió conquistar Jerusalén y acabar con la revuelta. El gran triunfo que se celebró en Roma para conmemorar la victoria era lo que la nueva dinastía Flavia necesitaba para afianzar su poder. Sin embargo, la campaña no finalizó hasta el año 73 d.C., tras la toma de la fortaleza de Masada, donde los últimos insurrectos prefirieron suicidarse antes de ser derrotados. El enfrentamiento se saldaría con una enorme pérdida de vidas, tanto entre los soldados romanos como entre los insurrectos judíos y la población civil. Gracias a la obra de Flavio Josefo, podemos reconstruir lo sucedido para poder así conocer con detalle uno de los grandes episodios de la Historia Antigua.

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- by Arturo Sanchez Sanz
- •
- 412
  Naval Engineering, Religion, History, Ancient History

The article analyses perceptions of the Holy Land through the pictorial representations of Jewish holy places in the Romanian Moldavia synagogues from the mid-19th to the mid-20th century. These images implied the sanctity of the biblical... more

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- by Ilia Rodov
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- 40
  Folklore, Iconography, Art History, Jewish Studies

This is a scientific monograph. The sundials on ancient mosaics have not been the subject of scientific studies so far. The author has gathered together in this publication the sundials already known (Torre Anunzaiata, Sarsina, Trier,... more

"Sommaire: 1. LES PÈRES DE L'ÉGLISE 2. RÉPERTOIRE FIGURÉ DU DÉCOR 3. EXPLICATION DES IMAGES AUX CATÉCHUMÈNES 4. LES SYMBOLIQUES DU PRINTEMPS 5. A L'IMAGE DE LA PERFECTION DIVINE 6. MÉTHODE D'INTERPRÉTATION PAR ANALOGIE 7. CYRILLE... more

So berühmt und begehrt die Kreuzreliquie als Partikel vom Kreuz Christi war, so unscheinbar war ihre äußere Natur, handelt es sich doch lediglich um einen Holzsplitter von außerordentlich geringem Materialwert. Äußerlich betrachtet sind... more

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- by Gia Toussaint
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- 12
  Medieval History, Relics (Religion), Medieval Art, Jerusalem in Art

Innerhalb der Schatzkunst nehmen Reliquiare eine bedeutende Stellung ein, bestechen sie doch nicht nur durch die Kostbarkeit ihres Materials, sondern auch durch ihren Formenreichtum. Die auffälligsten Vertreter dieser Gattung sind jene,... more

Devotees of Christ’s tomb ‒ the pilgrims ‒ brought home from their pilgrimages, among other things, Jerusalems, paintings painted on canvas showing sacred topography of the Holy Land. The image of the Church of the Holy Sepulchre in... more

Devotees of Christ’s tomb ‒ the pilgrims ‒ brought home from their pilgrimages, among other things, Jerusalems, paintings painted on canvas showing sacred topography of the Holy Land. The image of the Church of the Holy Sepulchre in Jerusalem is central. This type of paintings has been studied in this paper from morphological, typological and stylistic point of view. These questions have been emphasized, given that Jerusalems, as poorly studied iconography branch, open up many topics. Based on the style and iconography, there have been established a number of major types of Jerusalems, with several sub- or transitional variants. They follow the general directions of development of this type of painting in the Middle East. The first paintings were created in the XVII century and their greater expansion was in the XVIII century, with map-like representations, on which red color dominates. Over time, certain scenes were separated into special frames, and thus was created a new type widely used at the end of the XVIII century, with separate representations of the Virgin to the left and Christ to the right. It is noticeable that the items from this period contain many baroque elements. In the XIX century this variant was further stylistically developed and iconographic forms were changed, following the model of the zograf icon painters. The largest group of paintings originate from the second half of the XIX century, and some researchers classify them as “Jerusalem school” of this type of painting. In the early XX century, the painting of Jerusalems ceased.
Keywords: Jerusalems, typology, Church of the Holy Sepulchre, Virgin, Christ, iconography, style.

У раду се анализирају хаџијске иконе Јерусалими са типолошког, морфолошког и стилског гледишта. Истакнуте су њихове
заједничке особине и на појединачним примерима показано како је кроз иконографске и стилскепромене дошло и до еволуције у типологији хаџијских икона. Током 200 година, колико је трајала
продукцијаове врсте икона, дошло је до врло великих и у извесном смислу чак бурних промена, које су резултирале у шест главних
типова Јерусалима, са много прелазних облика и варијанти.
КЉУЧНЕ РЕЧИ: Јерусалими, типологија, црква Христовог гроба,
Богородица, Христос, иконографија, стил, Света земља, ходочасништво.

In his summa-like systematic theology De sacramentis (c. 1130-1137), Hugh of Saint Victor presents the Christian theological conception of the history of salvation on an epic scale. It is also an account that conceives of its... more

In his summa-like systematic theology De sacramentis (c. 1130-1137), Hugh of Saint Victor presents the Christian theological conception of the history of salvation on an epic scale. It is also an account that conceives of its subject almost completely in terms of time. However, in his image of The Mystic Ark (first painted at the abbey of Saint Victor, in Paris, 1125-1130), an image that is virtually the visual equivalent of the main themes of De sacramentis, the visual setting for the history of salvation–a world map–introduces the dimension of space into this comprehensive world view. While Jerusalem plays no role whatsoever in Hugh’s written conception of the history of salvation, “the city of the great king” plays a strikingly active role in its visual counterpart. At the same time, Hugh chose to follow one medieval tradition that placed Jerusalem in the center of the world in world maps, the same place primarily occupied by Christ in his image, the result being one of the earliest examples–perhaps the earliest significant example–of Jerusalem, in however veiled a form, at the centre of a medieval world map. In this lecture, I will investigate the role that Jerusalem, the city of the great king, plays in The Mystic Ark in regard to Hugh’s own formal methodological categories of place, time, and person–a unique role that is not articulated, to the best of my knowledge, in Hugh’s other writings or in the work of other Christian writers or images, but which is found only in The Mystic Ark, the most complex individual work of figural art of the Middle Ages.
Hugh of Saint Victor's Mystic Ark: Illustrations: http://mysticark.ucr.edu. This site presents a collection of images of The Mystic Ark that repeat in greater visual detail the same illustrations published in my study The Mystic Ark: Hugh of Saint Victor, Art, and Thought in the Twelfth Century for those who would like to study the image of The Mystic Ark more closely than is possible with the printed illustrations.

The late Antique mosaic of Orpheus decorated a small room, approximately 18 m2 in area, connected with two even smaller ones, in 4 m2 and the other 2 m2 in area, belonging most likely to a small funerary chapel (or tomb) discovered in the... more

The volume deals with the Master of Ozieri's enigmatic personality and his activity as painter of heterodox retablos in Sardinia between the 1540's and 1550's. The book analises the painter's own re-elaboration of southern Raphaelism,... more

From the Samaritan perspective, Mount Garizim is the central sanctuary of Israel. In contrast to the Jewish view, where the city of Jerusalem takes this place, Mount Garizim is conceived by the Samaritans as a landscape, even though the... more

na tle europejskiej "poezji Rzymu" * I Istnieje w literaturze Europy czasów nowożytnych zasobny nurt poezji, która za temat obrała sobie Rzym. Owa Romdichtung 1 , tworzona przez takich autorów, jak Hildebert Apołłon Majkow i wielu innych,... more

Depuis deux mille ans, l’imaginaire religieux des Occidentaux est nourri d’images de Jérusalem, comme des « cartes postales » envoyées par les pèlerins, les Croisés, et plus récemment les artistes voyageurs. Comme dans une carte... more

Interior of the Great Mosque of Córdoba, Spain, begun 785 CE. The building is now a Christian cathedral.Alfonso Gutierrez Escera/Ostman Agency Either in its simplest form, as in Medina, or in its more-formalized shape, as in Damascus, the... more

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- by Dr. Uday Dokras
- •
- 14
  Israel/Palestine, Palestine, Jerusalem, Israel-Palestine

Marc-Alain Ouaknin
Philippe Markiewicz
Mohammed Taleb
JÉRUSALEM, TROIS FOIS SAINTE
éditions Desclée de Brouwer, 2016

This is the editors introduction to the volume "Jerusalem in Roman-Byzantine Times": The present volume gives insights into the shape, life and claims of Jerusalem in Roman-Byzantine Times (2nd to 7th century). Regarding the history of... more

Este ensayo, de ambiciosa amplitud diacrónica y conceptual, analiza la evocación y la construcción imaginaria del Reino de Jerusalén en la Edad Media y, sobre todo, la Edad Moderna hispana, cuyo título recayó a comienzos del siglo XVI en... more

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- by John Noyce
- •
- 2
  William Blake, Jerusalem in Art

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- by Daniel Barbu
- •
- 5
  History of Religion, History of Religions, Cultural Memory, Jerusalem

Ciudad, Templo, Escenario es una nueva interpretación de la arquitectura, el arte y la liturgia creados para los aztecas y otros pueblos de México en el siglo XVI, y con su participación activa. El diseño de los centros misioneros sólo... more

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- by Elizabeth Key Fowden
- •
- 3
  Contemporary Art, Modern Arab Art, Jerusalem in Art

This manuscript contains architectural drawings of the Jerusalem Temple structure described in I Kings chapter 6. How and why an entirely verbal description was translated into drawings is the focus of this essay. The exercise reveals a... more

Excerpt from the introduction: "Daan van Heesch’s contribution also addresses the genre of city views, drawing attention to an intriguing, little-studied drawing of the city of Jerusalem from the former collection of Maurice Delacre.... more

Excerpt from the introduction: "Daan van Heesch’s contribution also addresses the genre of city views, drawing attention to an intriguing, little-studied drawing of the city of Jerusalem from the former collection of Maurice Delacre. Made probably by an Antwerp artist in the second quarter of the sixteenth century, the pen and ink drawing was inscribed by a later sixteenth-century hand with partial, faulty key to the sites and a claim to depict the site ‘naert Leven also het noch huyden ten Dage Leit’ (‘Jerusalem ‘ad vivum’ as it still stands today’). Having explored the drawing’s degree of topographical faithfulness in relation to both physical and sacred geography, Van Heesch shows that, while the novel view from the south is likely to have ultimately originated from a physical pilgrimage to the Holy City, the drawing and its later inscriptions relate in extremely complex ways to other prints and paintings of the period. The key, in particular, attempts to connect buildings depicted in the drawing with monuments in a more conventional view of Jerusalem, the Hierosolyma Urbs Sancta of Georg Braun and Frans Hogenberg, published in the second volume (1575) of Civitates Orbis Terrarum. In this respect, the Braun and Hogenberg print becomes the original, authoritative model for the Delacre drawing. Van Heesch also explores the possible functions of the drawing, showing that the main market for printed views was made up not of visitors to the sacred site but those at home who had to experience or remember it through secondary media such as maps and written accounts. Such views could also augment devotional imagery and reconstruct landscapes of the Holy Scriptures in the context of antiquarian scholarship. Van Heesch concludes that the ‘from the life as it still stands today’ inscription on the drawing might be related to its unconventional southern and low-point profile view of Jerusalem, which added to the chorographic qualities of the image and distinguish it from Braun and Hogenberg’s more hierotopical conception of the cosmic centrality of the city."

I simboli della Gerusalemme celeste e terrena su alcune monete medioevali del XIII secolo coniate nelle zecche di Aquileia, Trieste, Ljubljana e Kostanjevica.

La mosaïque funéraire d’Orphée de Jérusalem est la dernière représentation mythologique du chantre parmi les dix-sept exemples connus des mosaïques de l’Est de la Méditerranée de l’Antiquité. Nous ne connaissons que six mosaïques... more

La mosaïque funéraire d’Orphée de Jérusalem est la dernière représentation mythologique du chantre parmi les dix-sept exemples connus des mosaïques de l’Est de la Méditerranée de l’Antiquité. Nous ne connaissons que six mosaïques funéraires avec l’image du musicien thrace dans l’art funéraire antique. La mosaïque d’Orphée placée dans une tombe chrétienne au VIe siècle (l’époque de Justinien ?), devait répondre aux attentes des chrétiens pour lesquelles elle a été exécutée. Nous sommes loin (environ 160 ans après l’interdiction des cultes païens) de l’époque ou la réaction païenne s’exprimait dans l’art et il ne s'agit certainement pas ici de ce phénomène de contestation. Selon l’opinion de l’auteur, le personnage mythologique d’Orphée avait un sens universel dans un contexte funéraire à l’époque romaine qui perdurera longtemps à l’époque de l’Antiquité tardive. L’idée d’Orphée est liée d’une part avec celle d’un homme malheureux pleurant la perte de sa bien aimée Eurydice. D’autre part, le jeu de mots, si souvent pratiqué par les Anciens dans le langage courant ainsi que dans l’iconographie (par exemple des mosaïques d’Apamée interprétées par J. et J.-Ch. Balty) et dans les textes pourrait bien expliquer le sens universel de l’image du chantre dans le contexte funéraire. En grec, « orphanos » signifie une personne privée de son père, de sa mère ou de ses enfants, et « Orpheus » Orphée. Le chantre mythologique exprime dans un contexte funéraire, le deuil et la tristesse de la personne privée de l’être le plus cher. Il est probable que le jeu de mots, a la fois graphique et textuel, sous-entendu, s’est établie dans l’image mythologique du Centaure et du Pan. Nous savons que le Chrisme accompagne la majorité des tombes chrétiennes au Ve et VIe siècles. Sous le nom du Centaure Chiron [XIPO(N)] nous pouvons lire « XiPo » et sous le nom de Pan nous lisons le « Pantokrator ». Derrière la représentation graphique du Centaure Chiron et de Pan nous pouvons donc lire « Christo to Pantokrator ». Cette formule correspond bien à l’ambiance de paix crée par Orphée, sa musique et la formule chrétienne de paix en Christ ou en Dieu adressée à deux jeunes femmes mortes et enterrées dans la chapelle funéraire de Jérusalem. L’image d’Orphée est ici utilisée d’une façon inoffensive face à la religion chrétienne et ses dogmes. See also a pdf of M.T. Olszewski, The Orpheus Funerary Mosaic from Jerusalem in the Archaeological Museum at Istanbul, in: the 11TH INTERNATIONAL COLLOQUIUM ON ANCIENT MOSAICS OCTOBER 16TH – 20TH, 2009, BURSA TURKEY: M. Şahin (ed. by), Mosaics of Turkey and Parallel Developments in the Rest of the Ancient and Medieval World: Questions of Iconography, Style and Technique from the Beginnings of Mosaic until the Late Byzantine Era, Bursa 2011 (2012), pp. 655-664.

At the courts of Kings of the independent kingdom of León Fernando II (1157-1188) and Alfonso IX (1188-1230) languages mixed freely in a cosmopolitan culture. The langue d’oc was understood and canços were composed, the first generation... more

At the courts of Kings of the independent kingdom of León Fernando II (1157-1188) and Alfonso IX (1188-1230) languages mixed freely in a cosmopolitan culture. The langue d’oc was understood and canços were composed, the first generation of Galician and Portuguese troubadours elevated the rank of the local vernacular language; Latin, too, was spoken and understood, and it held sway in the royal chancery, and the shifting loyalties of some magnates had even taught them to hold their own in Arabic. Meanwhile Compostela was elevated into an artistic center of the first rank, a catalyst for the transformation of a figural language and the creation of a distinctive poetics. It attracted artists of all kinds, including English miniaturists and, possibly, bronze casters; Burgundian sculptors that brought together artists trained in the early Gothic workshops of Paris and Champagne, and they even admitted new formulas from Almohad art. The result was a kind of visual polyglossy that forged a distinctive figural language, sometimes anticipating developments in northern Europe.
The singularity of the visual culture of Galicia in this period cannot be separated from the flowering of Latin culture among the clerics who ultimately were responsible for the visual discourses of the Galician cathedrals. They found themselves seduced by the realization in stone of the architectural metaphors used in biblical exegesis by authors like Richard of Saint Victor, Peter Comestor and Peter of Celle. Thus, the Celestial Jerusalem and the heavenly ladder found diverse forms of visual expression in the principal Galician architectural projects of the period: the west end of Santiago cathedral, the monumental programs of Ourense cathedral, and the west facade of Tui cathedral. Galician canons and bishops also shared with the theologians of Paris a taste for biblical typology, especially for its specific use in the exaltation of the Capetian kings, readily applied in Galicia to the glorification of the newly independent dynasty of León. This appears evident not only from the sculptural programs decorating the cathedrals, but also from the additions to the Compostelan cartulary known as the Tumbo A.

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- by Rocío Sánchez Ameijeiras
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- 18
  Aesthetics, Medieval History, Galician Studies, Pilgrimage

The enigmatic nature of the mid-thirteenth-century silver-inlaid brass Freer Canteen stems from its joining of imagery from both Christian and Islamic cultures. Scholars question whether the canteen was made as a memento for a wealthy... more

“Depictions of Jerusalem in post-Byzantine Icons, on the occasion of a work of art by Ioannes Apakas”, Edition in honor of Miltos Garidis (1926-1976), Ioannina 2004, p. 729-744, img. 1-20. This paper constitutes a discussion on the... more

“Depictions of Jerusalem in post-Byzantine Icons, on the occasion of a work of art by Ioannes Apakas”, Edition in honor of Miltos Garidis (1926-1976), Ioannina 2004, p. 729-744, img. 1-20.

This paper constitutes a discussion on the depictions of Jerusalem in the icons of the post-Byzantine period. The impetus behind the interest in the subject was piqued by the well-known image of the Descent from the Cross by Ioannes Apakas, in the Monastery of Great Lavra, on Mt. Athos [2nd half of the 16th century]. In this particular work the Cretan painter created the image of an idealized city in the background, which draws upon recognizable morphological elements from the architecture and urban planning of the actual Jerusalem; a composition which distances itself from the conventional depictions of the city, common in painted art from the late post-Byzantine period.
An examination was carried out on the depiction of Jerusalem, in particular on the Cretan icons which, under the influence of Western Art, exhibited a new iconography of the “Holy City”. In order to more effectively investigate the choices made by the ambidexterous painters of the Cretan Renaissance, in their Venetian environment, it was deemed necessary to make an overview of the various stages in the artistic depiction of Jerusalem in Western Art.
The first section of the article is dedicated to the widening of the subject matter explored in conventional depictions which imply Jerusalem, in the Cretan works. No western influences exist in the abbreviated images of the city, which are the traditional means of depiction. An exception is a Gothic-style church as the emblematic monument of the city [Pavias, Klontzas] and the enrichment of the scene of the Entry into Jerusalem with recognizable “actual” structures in the walled city [Icon in the settlement of Sinarades].
Focus was then turned to the ideal depiction of the city. The realistic rendering of the imago urbis which began to appear in the West at the end of the Medieval period inspired the Cretan painters, who subsequently enriched the depth of the scenes in their icons, starting in the 15th century. (Icon with the Samaritan woman at the well from the Kanelopoullos Collection). Influenced by these new teachings, the walled city of Jerusalem becomes reminiscent of the cities in works of the painters of the early Renaissance (P. Lorenzetti, Tomaso da Modena, Fra Angelico etc.). A more progressive conception, which is expressed at the same time, is the attempt to depict the “actual” space, which certain Cretan artists approximated through the teachings or even specific templates from the West [Jerusalem from cartographical creations in the work of Klontzas].
The second section contains a detailed examination of the topographical and architectural elements of the landscape of Jerusalem in the icon by Apakas. All of the elements which comprise it constitute “actual” topographical minutia [the walls, the Mosque of Omar, the Church of the Holy Sepulcher, the Golden Gate of Justinian]. In the course of the research it was found that the Cretan painter must have drawn information from the engravings of travelers and pilgrims to the Holy Land, namely the Pelegrinationes in Terram Sanctam by Breydenbach (1486), the Χρονικό του Κόσμου/Nuremberg Chronicle (1493), and the Cosmographia by Munster (1550), creating a new composition in the process.
Finally, an examination of the crest on the icon identified it as that of the Venier family, a branch of the well-known Venetian patrician family with connections to Candia.

Alberto Montaner y Guillermo Montaner, «La Jerusalén celeste: una ciudad para el fin de la Historia», Caracola: Zaragoza ultramarina, vol. 3-4 (enero 1989), pp. 13-16.

The paper intends to reassess the role of Jerusalem and Palestine in Fatimid-Byzantine relations from the early expansion of the Fatimid Caliphate in the Levant and its ensuing rivalries with the competing Islamic powers in the Middle... more

I prepare high-quality illustrations of art objects or historical buildings for museums and academics to use in publications and related work. You can appreciate a small selection of my works at:... more

Jerusalem in Art

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