Jewish Art and Architecture in the East European Context:

2018 ◽  
pp. 141-182 ◽  
Author(s):  
THOMAS C. HUBKA
Keyword(s):  
East European ◽  
European Context ◽  
Jewish Art ◽  
Art And Architecture

Jewish Art and Architecture in the East European Context: The Gwozdziec-Chodorów Group of Wooden Synagogues

1997 ◽  
pp. 141-182
Author(s):  
Thomas C. Hubka
Keyword(s):  
Eighteenth Century ◽  
Jewish Community ◽  
Specific Group ◽  
East European ◽  
European Context ◽  
Jewish Art ◽  
Jewish Society ◽  
Art And Architecture ◽  
Design Construction

This chapter focuses on a specific group of eighteenth-century wooden synagogues — labelled the Gwoździec–Chodorów group — within their east European context. It identifies the architectural ideas and building traditions which generated these synagogues, and particularly to emphasize the role of ideas from Jewish sources and from the Jewish community in this process. This entails investigating all phases of building development, including sponsorship, inspiration, liturgy, design, construction, and painting, and then differentiating between non-Jewish east European sources and sources from the local and the broader Jewish community. The role of Jewish ideas requires careful differentiation because their influence on the architecture of the synagogues has been so loosely assumed and insufficiently documented in current scholarship. The chapter then suggests that the explosion of interest in kabbalah in Jewish society during the late seventeenth and eighteenth centuries may have informed the architecture of the synagogues.

Going West

2011 ◽  
Vol 25 (4) ◽  
pp. 785-791 ◽  
Author(s):  
Tara Zahra
Keyword(s):  
Twentieth Century ◽  
Eastern Europe ◽  
Minority Rights ◽  
European History ◽  
East European ◽  
European Context ◽  
The World ◽  
History Of

“Going West” explores the potential of integrating East European History into broader histories of Europe and the world. Placing the history of Eastern Europe in a European context, I argue, may enable us to challenge the tropes of backwardness, pathology, and violence that still dominate the field. I also suggest that historians explore the extent to which conceptions of minority rights, development, and humanitarianism first developed in Eastern Europe radiated beyond the region in the twentieth century.

A major study on Ottoman architecture in Hungary

1982 ◽  
Vol 45 (1) ◽  
pp. 67-73
Author(s):  
Géza Fehérvári
Keyword(s):  
Eastern Europe ◽  
European Countries ◽  
Classical Period ◽  
East European ◽  
The Balkans ◽  
South Eastern ◽  
The World ◽  
Ottoman Architecture ◽  
South Eastern Europe ◽  
Art And Architecture

Recent years have witnessed an increasing interest in Turkish art and architecture, an interest that embraces not only the monuments in Turkey proper but also those which were erected in south-eastern Europe during the Ottoman occupation. Thus a few years ago, when in conjunction with the World of Islam Festival a symposium was held in Edinburgh dedicated to Islam in the Balkans, the participants dealt with Islamic monuments in Bulgaria, Rumania, Greece and Yugoslavia. The Ottoman monuments of Hungary are admittedly not as numerous as those of these south-east European countries; nevertheless,they represent the achievements of a period which is justifiably called the ‘classical’ period in Ottoman art.

Art of Medieval Iberia

Art History ◽  
2019 ◽  
Author(s):  
Tom Nickson
Keyword(s):  
Iberian Peninsula ◽  
North Africa ◽  
Significant Shift ◽  
Islamic Art ◽  
Western Art ◽  
Jewish Art ◽  
Medieval Iberia ◽  
Spanish Art ◽  
Key Events ◽  
Art And Architecture

Iberia’s medieval history has traditionally been understood in relation to a series of key events: 711–714, when Muslim forces from North Africa began their conquest of most of the Iberian Peninsula; 1031, when the Cordoban caliphate finally collapsed, and 1085, when Alfonso VI captured Islamic Toledo (Tulaytula), marking a significant shift in the balance of power in the peninsula; 1128–1179, when the kingdom of Portugal was founded and officially recognized; 1282, when Peter III of Aragon was crowned king of Sicily, cementing the political and mercantile power of Aragon-Catalonia in the Mediterranean; 1492, when Columbus first landed in the Americas, when Jews were expelled from Spain (and from Portugal in 1496), and when Ferdinand and Isabella of Aragon and Castile captured Nasrid Granada, Iberia’s last Islamic polity; and 1497–1499, when Vasco da Gama made his first sea voyage to India. In terms of its arts, however, Iberia’s medieval period may be pushed back to the 6th century, to the earliest Visigothic metalwork and architecture, and moved forward well into the 16th century, when gothic traditions mingled with Italianate motifs in Lisbon, Salamanca, and Palma, while Nasrid marquetry techniques (taracea) continued to flourish in Andalucia. Political, linguistic, and cultural borders shifted significantly in this period, and they continue to condition modern art-historical scholarship, whether divisions among Jewish, Islamic, and Christian/ “Western” art histories or the intense regionalism – reinforced by modern political and institutional structures—that has atomized art-historical studies on medieval Iberia. Insofar as the scholarship allows—and partly to complement it—this article thus deliberately resists traditional classifications by geography, confession, period, and medium. More focused bibliographies can be found in the Oxford Bibliographies in Art History articles, “Jewish Art, Medieval to Early Modern” and “Islamic Art and Architecture in North Africa and the Iberian Peninsula”; and Oxford Bibliographies in Renaissance and Reformation article “Spanish Art.” This article, therefore, focuses broadly on resources rather than specific studies, with a preference for sources in English, when available.

Renaissance in the Graveyard: The Hebrew Tombstones of Padua and Ashkenazic Acculturation in Sixteenth-Century Italy

AJS Review ◽  
2013 ◽  
Vol 37 (2) ◽  
pp. 333-370 ◽  
Author(s):  
David Malkiel
Keyword(s):  
Sixteenth Century ◽  
Italian Renaissance ◽  
Present Discussion ◽  
Jewish Art ◽  
Occasional Poetry ◽  
Medieval Germany ◽  
Art And Architecture

The acculturation Ashkenazic Jews in Italy is the focus of the present discussion. By 1500 Jews had been living in Padua for centuries, but their cemeteries were destroyed in the 1509. Four cemeteries remained with over 1200 inscriptions between 1530–1860. The literary features of the inscriptions indicate a shift from a preference for epitaphs written in prose, like those of medieval Germany, to epitaphs in the form of Italian Jewry's occasional poetry. The art and architecture of the tombstones are part and parcel of the Renaissance ambient, with the portals and heraldry characteristic of Palladian edifices. The lettering, too, presents a shift from the constituency's medieval Ashkenazic origins to its Italian setting. These developments are situated in the broader context of Italian Jewish art and architecture, while the literary innovations are shown to reflect the revival of the epigram among poets of the Italian Renaissance.

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