Skip to main content Accessibility help
×
Hostname: page-component-586b7cd67f-r5fsc Total loading time: 0 Render date: 2024-11-25T14:38:58.337Z Has data issue: false hasContentIssue false

21 - The Hebrew Bible in art and literature

from Part V - Reception and use

Published online by Cambridge University Press:  05 July 2016

David Lyle Jeffrey
Affiliation:
Baylor University
Stephen B. Chapman
Affiliation:
Duke University, North Carolina
Marvin A. Sweeney
Affiliation:
Claremont School of Theology, California
Get access

Summary

The distinctive imposition of the second commandment notwithstanding, the Hebrew Bible has a great deal to say about art. Moreover, it promotes poetry and has been a source of inspiration for all the arts in Western culture to a degree surpassed only by the New Testament.

TENSION IN TEXT AND COMMENTARY

While Jewish artists from patriarchal times observed careful scruples where the human image (closely associated with the divinity, Gen 1:26–7) was concerned, the actual term used by the text of Exodus (20:4) makes it clear that “graven image” (from the Hebrew pāsal, “to carve from wood or stone”) refers specifically to three-dimensional rather than two-dimensional images. Typically, these three-dimensional images were used as idols. That there is no ban on other forms of representational imagery is clear from the same book of Exodus, in which the Lord reveals to Moses that he has called Bezalel of the tribe of Judah, filling him “with divine spirit, ability, intelligence, and knowledge of every kind of craft, to devise artistic designs, to work in gold, silver, bronze, and in cutting stones for setting, woodcarving and every kind of craft” (31:1–5). The artistic provisions for the beauty of the Tabernacle are intensified when Solomon deputizes Hiram of the tribe of Naphtali to be the master artisan for the far more elaborate artwork of the Temple (1 Kgs 7:13–51). There, not only carved candlesticks and cherubim but also bas relief and sculpted gold pomegranates, lilies, lions, oxen, wheels, and palm trees were all arranged in splendor. The association of Solomon's wisdom with the beauty of artistic endeavor, moreover, was embedded in the very term for the artist: the artist is “filled with divine spirit” and wisdom. Indeed, the characteristic trait of the artist is to be ḥăkam-lēb (“wise-hearted”; Exod 31:2–6, 35:30–6; 1 Kgs 7:14, etc.). Ezekiel speaks comparably of “the beauty of wisdom” (28:7). After the Babylonian captivity, God commands Cyrus to rebuild the Temple using beautiful materials (Ezra 1:2), and two hundred singers go back to the ruins of Jerusalem to provide choral accompaniment for Temple worship (Ezra 2:65). It is impossible to read the text of the Hebrew Bible for long without appreciating the deep affection for artistic expression in its pages.

Type
Chapter
Information
Publisher: Cambridge University Press
Print publication year: 2016

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

Alter, Robert. The Art of Biblical Poetry. New York: Basic Books, 1985.
Berlin, Adele. Biblical Poetry through Medieval Jewish Eyes. Bloomington: Indiana University Press, 1991.
Berlin, Adele The Dynamics of Biblical Parallelism. Bloomington: Indiana University Press, 1992 (1985).
Brann, Ross. The Compunctious Poet: Cultural Ambiguity and Hebrew Poetry in Muslim Spain. Baltimore, MD: Johns Hopkins University Press, 1991.
Fine, Stephen, “Jewish Art and Biblical Exegesis in the Greco-Roman World,” pp. 25–49 in Picturing the Bible: The Earliest Christian Art . Edited by Spier, Jeffrey. New Haven, CT: Yale University Press, 2007.
Fisch, Harold. Jerusalem and Albion: The Hebraic Factor in Seventeenth-Century Literature. New York: Schoken, 1964.
Gutman, Joseph. No Graven Images: Studies in Art and the Hebrew Bible. New York: Schocken, 1971.
Gutman, JosephThe Illustrated Midrash in the Dura Europos Synagogue Paintings: A New Dimension for the Study of Judaism.” Proceedings of the American Academy for Jewish Research 50 (1983): 91–104.Google Scholar
Landsberger, Franz. Rembrandt, the Jews and the Bible. Translated by Geson, Felix N.. Philadelphia: Jewish Publication Society, 1946.
Nadler, Steven. Rembrandt's Jews. University of Chicago Press, 2003.
Spier, Jeffrey. Picturing the Bible: The Earliest Christian Art. New Haven, CT: Yale University Press, 2007.
Zell, Michael. Reframing Rembrandt: Jews and the Christian Image in Seventeenth-Century Amsterdam. Berkeley: University of California Press, 2002.

Save book to Kindle

To save this book to your Kindle, first ensure coreplatform@cambridge.org is added to your Approved Personal Document E-mail List under your Personal Document Settings on the Manage Your Content and Devices page of your Amazon account. Then enter the ‘name’ part of your Kindle email address below. Find out more about saving to your Kindle.

Note you can select to save to either the @free.kindle.com or @kindle.com variations. ‘@free.kindle.com’ emails are free but can only be saved to your device when it is connected to wi-fi. ‘@kindle.com’ emails can be delivered even when you are not connected to wi-fi, but note that service fees apply.

Find out more about the Kindle Personal Document Service.

Available formats
×

Save book to Dropbox

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Dropbox.

Available formats
×

Save book to Google Drive

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Google Drive.

Available formats
×