Images Of Torah From The Second Temple Period To The Middle Ages

This book explores the way that the Torah was appreciated and interpreted as a text and symbol in Christian and Jewish sources from the Second Temple period through the Middle Ages. It tracks the development and complex interactions of three images of Torah— “God-like,” “Angelic,” and “Messianic”— which are found in late-antique Jewish and Christian materials as well as in medieval kabbalistic and Jewish philosophic sources. It provides a unique template for tracing the development of theological ideas related to the images of Torah and offers a sophisticated and innovative analysis of the relationship between mystical experience, theology, and phenomenology.

This volume contains articles by Martha Himmelfarb on topics in Second Temple Judaism and the development and reception of Second Temple traditions in late antiquity and the Middle Ages. The section on Priests, Temples, and Torah addresses the themes of its title in texts from the Bible to the Mishnah. Purity in the Dead Sea Scrolls contains articles analyzing the intensification of the biblical purity laws, particularly the laws for genital discharge, in the major legal documents from the Scrolls. In Judaism and Hellenism the author explores the relationship between these two ancient cultures by examining the ancient and modern historiography of the Maccabean Revolt and the role of the Torah in ancient Jewish adaptations of Greek culture. The last two sections of the volume follow texts and traditions of the Second Temple period into late antiquity and the Middle Ages. The articles in Heavenly Ascent consider the relationship between the ascent apocalypses of the Second Temple period and later works involving heavenly ascent, particularly the hekhalot texts. In the final section, The Pseudepigrapha and Medieval Jewish Literature, Himmelfarb investigates evidence for knowledge of works of the Second Temple period by medieval Jews with consideration of the channels by which the works might have reached these later readers.

The shifting image of the Hasmoneans in the eyes of their contemporaries and later generations is a compelling issue in the history of the Maccabean revolt and the Hasmonean commonwealth. Based on a series of six Jewish folktales from the Second Temple period that describe the Hasmonean dynasty and its history from its legendary founders, through achievement of full sovereignty, to downfall, this volume examines the Hasmoneans through the lens of reception history. On the one hand, these brief, colorful legends are embedded in the narrative of the historian of the age, Flavius Josephus; on the other hand, they are scattered throughout the extensive halakhic-exegetical compositions known as rabbinic literature, redacted and compiled centuries later. Each set of parallel stories is examined for the motivation underlying its creation, its original message, language, and the historical context. This analysis is followed by exploration of the nature of the relationship between the Josephan and the rabbinic versions, in an attempt to reconstruct the adaptation of the putative original traditions in the two corpora, and to decipher the disparities, different emphases, reworking, and unique orientations typical of each. These adaptations reflect the reception of the pristine tales and thus disclose the shifting images of the Hasmoneans in later generations and within distinct contexts. The compilation and characterization of these sources which were preserved by means of two such different conduits of transmission brings us closer to reconstruction of a lost literary continent, a hidden Jewish "Atlantis" of early pseudo-historical legends and facilitates examination of the relationship between the substantially different libraries and worlds of Josephus and rabbinic literature.

Talya Fishman explores the impact of the textualization process in medieval Europe on the Babylonian Talmud's roles within Jewish culture.

Since turning to the field of Jewish art over twenty years ago, Vivian Mann has concentrated on investigating Jewish ceremonial art within the dual contexts of Jewish law, and the history of decorative arts in general, including the ceremonial art made for the Church and the Mosque. The introduction to this volume considers classic rabbinic attitudes toward art and its relationship to spirituality. The remaining essays are divided into three groups: the first concerns medieval ceremonial art; the second, articles on the Jewish art of Muslim lands beginning with the early Middle Ages; and the third consists of essays on Judaica during the periods of the Renaissance and rococo.

The Leipzig Mahzor is one of the most lavish Hebrew illuminated manuscripts of all time. A prayer book used during Jewish holidays, it was produced in the Middle Ages for the Jewish community of Worms in the German Rhineland. Though Worms was a vibrant center of Judaism in the eleventh and twelfth centuries and drew celebrated rabbis, little is known about the city's Jews in the later Middle Ages. In the pages of its famous book, Katrin Kogman-Appel discovers a portal into the life of this fourteenth-century community. Medieval mahzorim were used only for special services in the synagogue and "belonged" to the whole congregation, so their visual imagery reflected the local cultural associations and beliefs. The Leipzig Mahzor pays homage to one of Worms's most illustrious scholars, Eleazar ben Judah. Its imagery reveals how his Ashkenazi Pietist worldview and involvement in mysticism shaped the community's religious practice. Kogman-Appel draws attention to the Mahzor's innovations, including its strategy for avoiding visual representation of God and its depiction of customs such as the washing of dishes before Passover, something less common in other mahzorim. In addition to decoding its iconography, Kogman-Appel approaches the manuscript as a ritual object that preserved a sense of identity and cohesion within a community facing a wide range of threats to its stability and security.