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THE ART OF THE ART OF

PURIMPURIM14th of Adar, 5770 February 27-March 1, 2010

Myrna Teck, Ph. D.Independent Scholar

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THE ART OF THE ART OF

PURIM

Purim celebrates the collapse of a plot All the Jews of the Persian Empire were to be killedThis was in the 5th century BCE The English text is in bright and colorful letters

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MEGILAT ESTHER-Leonard Baskin, 1984Baskin, L. (1984). The Five Scrolls. CCAR

The word “Megillah” is Hebrew for “scroll” It is the name applied to five books of the Hebrew Bible The books are

RuthSong of SongsLamentationsEcclesiastesEsther

This is because they were once read from separate scrolls Only the Book of Esther is still read from a scroll today It is thus commonly referred to as “The Megillah” God’s name is never mentioned in this Biblical book The story is written in the form of a scroll The scroll was sent to all parts of the kingdomThe Hebrew is also in bright colors and vibrant patternsit creates a joyous and vibrant visual image

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Baskin, L. (1984). The Five Scrolls. CCAR

The Scroll of Esther is read after an introductory Service These are the first words of the Megilla or Scroll of EstherThey are written in English, Hebrew and Illuminated HebrewThe latter has small images of some of the main characters

` These are superimposed on the letters

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AHASUERUS-Leonard Baskin, 1984Baskin, L. (1984). The Five Scrolls. CCAR

The story begins in the days of King Ahasuerus of Shushan He ruled from India to Ethiopia, over 127 provinces In the third year of his reign, he gave banquetsThese were for the nobles and the peopleThey were given to show the riches and glory of his kingdom The artist, Baskin, has a unique idiosyncratic approachThis painting is in watercolorThe king wears a red robe and a vibrant green turbanThese colors are opposites on the color wheelThey create a dynamic, energetic image

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His Queen Vashti also gave a banquetIt was for the women in the royal house On the seventh day, the king was merry with wine He commanded Queen Vashti to show her beauty(You can interpret that request as you like!)He wanted to show her off to the people and to the nobles But she refusedThen the king said to the sages:

“What law shall be applied to Queen Vashti for not obeying my command?”

After a suggestion, he requested Vashti to appear before him Once again she refused A second suggestion resulted in a royal decreeThis ruling banished her from her royal position It even gave her place to someone elseThis advice pleased the kingHe sent letters throughout his kingdom to this effect Then he asked for beautiful young women to come to Shushan He held a competition for them to vie for the royal positionBaskin used the same colors as he had with AhasuerusPerhaps he saw them as being of equal importance

VASHTI-Leonard Baskin, 1984Baskin, L. (1984). The Five Scrolls. CCAR

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MORDECAI-Leonard Baskin, 1984Baskin, L. (1984). The Five Scrolls. CCAR

In Shushan, there was a Jew named Mordecai He brought up his cousin Hadassah after her parents died The name “Hadassah” may be translated as “Esther”Esther was one of the young women brought before the kingShe pleased him and received kindness from himShe did not reveal her people or her kindredMordecai had cautioned her not to do soNotice how quiet, war, and soft the colors areThese were clearly chosen by the artist

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ESTHER-Leonard Baskin, 1984 Baskin, L. (1984). The Five Scrolls. CCAR

And the king loved Esther above all other women He set the royal crown upon her headHe made her queen instead of VashtiThen the king gave a great banquet for all his nobles He granted a remission of taxes to the provincesHe gave gifts as befits a kingWe associate white with purityThat may have been why Baskin showed Esther in whiteHe adds the letters of her name in bright redThat is to show the energy of her actions

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Two of the king’s servants attempted to kill the kingThey were unsuccessfulAs a result, Ahasuerus promoted HamanHaman became the chief above all the king’s other servants The king then commanded that everyone bow down to Haman But Mordecai would not bow downHaman was filled with rageHe did not want to harm Mordecai alone Rather, he wanted to exterminate all the Jews This was throughout the kingdom of AhasuerusThat meant Mordecai and all his peopleIt all happened in the first month, i.e. Nisan This was in the 12th year of the reign of King AhasuerusThey cast PUT—which means ‘the lot’—before Haman Haman told the king that some people don’t keep his lawHe thought that they should be destroyed The king took the ring from his hand and gave it to Haman The King told Haman to do as he pleasedHaman commanded that a decree be written It was done and sealed with the king’s ring The letters went out to kill and exterminate all the Jews It was to take place on the 13th day of the 12th month, Adar Baskin depicts Haman’s nastiness in his hot, red, angry face

HAMAN-Leonard Baskin, 1984Baskin, L. (1984). The Five Scrolls. CCAR

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MORDECAI IN SACKCLOTH-Leonard Baskin, 1984Baskin, L. (1984). The Five Scrolls. CCAR

Mordecai heard all that had happened and rent his clothes He put on sackcloth and ashesHe went to the center of the city and cried bitterlyWhen Esther heard of this, she, too, was greatly distressed She sent a message to MordecaiHe replied by telling her what was to happen to the Jews He asked her to go in to the kingHe asked that she appeal to the King on behalf of her peopleBaskin shows Mordecai in the colors associated with sadnessWhat other choice did he have? His hand, reaching toward the viewer is alive with warmth

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QUEEN ESTHER BEFORE KING AHASUERUS-Judeo-Persian,18th cRush, B. (2002) The Jewish Year: Celebrating the HolidaysNew York: Stewart Taborri & ChangIsaac Einhorn Collection, Tel Aviv/Erich Lessing/Resource,NY

Esther knew that it was against the law to ask to see the kingShe would risk her life just by asking She was hesitant to do so Mordecai said that she would be included in the annihilation He asked her to consider why she was in her royal rolePerhaps that she may be in it for just this situationWhen the king saw Esther, she held favor in his sight He wanted to know her requestHe promised her anything she wanted He was willing to give her up to half of the kingdom She asked that the king and Haman come to the banquet They accepted and did soPersian art has richly repetitive patternsthey are seen in this image of Queen Esther before the King

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ESTHER AND AHASUERUS-Malcah Zeldis, 1976McDonough, Y. Z. (1996). Moments in Jewish Life: Folk Art of Malcah Zeldis. NY: Friedman/Fairfax

At the banquet, the king inquired again about her request Esther asked them to attend a second banquet the next night In the meantime, Haman reveled in his newly found powerBut Mordecai still vexed him mightilyThe king ordered that a gallows be built to hang Mordecai That night the king could not sleepHe read the book of records of the chronicles of his empire He discovered that Mordecai was the one to be thankedMordecai had discovered the plot by the King’s 2 servantsAt the banquet, the king had a questionHe asked what honor was bestowed on Mordecai for this? Esther said that nothing had been done When Haman came to the banquet, the king asked him a question What should be done to the man the king delights to honor?Zeldis is a 20th century self-taught artist mShe takes a very naïve and primitive approach to this event

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ARK AND WALLS-Dura-Europos, 3rd c. Site guidebook. 64 3/16 x 154 5/16” (163 x 392 cm)Courtesy of Yale University Art Gallery, New HavenDura Europos collection

This is from the wall paintings at Dura-Europos The site was a Roman garrison town on the eastern frontier An earthquake covered it in the late third centuryIt was only discovered in the early 1920sThis painting was created in the 3rd c., CEIt shows Eastern influencesThe figures are symbolic of the characters in the storythey are not individualized and do not show any emotionThis is in contrast to Western (Roman) aesthetics

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ARK AND WALLS-Dura-Europos, 3rd c. Site guidebook. 64 3/16 x 154 5/16” (163 x 392 cm)Courtesy of Yale University Art Gallery, New HavenDura Europos collection

This is the Dura-Europos Ark niche and wall paintingsThis site was a Roman garrison town on their eastern frontier An earthquake covered it in the late third centuryIt was only discovered in the early 1920sThese paintings are the earliest known figurative Artworks These are based on stories from the Hebrew Bible

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PURIM FESTIVAL-Dura-Europos, 3rd c. Mazar, B. & Davis, M.(1963). Illustrated History of the Jews. USA: Israeli Publishing Institute, Ltd. Esther 9:11-14. West Wall. Lower register.

At the banquet, the king asked Queen Esther for her request She asked that her life be spared along with her people She said that she and her people were to be exterminated The king asked who had done this Esther said that the adversary and enemy is the wicked HamanThe throne is decorated with lions and eagles

It is from the Biblical description of King Solomon’s throne It is not clear exactly which part of the narrative is shown It is clear that the king is being given a written request He is shown with his Queen on the raised platform

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MORDECAI AND HAMAN-Harry Lieberman, 1968Hollander, S. (1991). Harry Lieberman: A Journey of Remembrance, New York: Dutton

The king’s wrath was not abated until they hanged Haman They did this on the gallows he had prepared for Mordecai Then the king took off his ring and gave it to MordecaiHe held out his golden scepter to EstherIt was written that Mordecai commanded the Jews It was sealed with the king’s ringThe Jews were glad on the 13th day of the 12th month, Adar Then Esther asked that Haman’s ten sons be hanged and it was doneThis 20th c. primitive artist shows various parts of the storyThey all appear in one composition

` It is somewhat like a medieval painting

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SCENES FROM THE ESTHER STORY-Joseph Zvi Geiger, 1843Keller, S. (Ed.) The Jews. New York: Hugh Lauter LevinOil painting on glass. 21 x 12 13/16” (52.5 x 32 cm)Israel Museum, Jerusalem. Feuchtwanger CollectionBaruch and Ruth Rappaport donated it to the Israel Museum

The 15th day of Adar was a day of celebration and of gladness Mordecai wrote all this downWe observe the 14th and 15th of Adar by feasting and joyHe also said that Jews should send portions to one anotherAnd they should send gifts to the poorAnd it was doneThey called these days PurimAnd it continues to this dayAlong with the reading of the Scroll of Esther, the Megillah The artist dressed all the figures in contemporary clothesHe used a cell approach as in today’s cartoons

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KING AHASUERUS’ SOLDIERS-Yossef Geiger, Safed, 1843 Keller, S. (Ed.) The Jews. New York: Hugh Lauter Levin Oil painting on glass. 21 x 12 13/16” (52.5 x 32 cm)Israel Museum, Jerusalem. Feuchtwanger CollectionBaruch and Ruth Rappaport donated it to the Israel Museum

This is a painting on glass Notice that King’s soldiers wear Ottoman uniforms

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MEGILAT SETARIM, MASHEHKHET PURIM-Amsterdam, 1734Grossman, G. (1995). Jewish Art. NY: Hugh Lauter LevinPaper. Bibliotheca Rosenthaliana, AmsterdamIt is a Purim custom to stage a Purim ParodyThis began in medieval timesIt is in the festive spirit of the holiday Purim Shpieler, or Players, went from door to doorThey enacted the Purim story in farcical fashion This tradition was most active in the 17th-19th centuries Sometimes more elaborate plays were presented in YiddishThe players often went from shtetl to shtetlTheir productions were very popularThe story of Esther is the most popular subject for these It was often staged with a contemporary or community twistLocal figures were substituted for the originalsThis lent humor to the productionsProceeds from the performances went to charityThis was in accordance with the requirement of Jewish lawThe Scroll of Esther says to give “gifts to the poor” MASHEKET PURIM is a parody on the TalmudThe text is on the theme of drinking wineIt was written in the 14th centuryLevi ben Gershom wrote the Megilat Setarim thenHe was from ProvenceIt is known as the “Scroll of Secrecy” Revelers drink until they can’t tell Mordecai from Haman

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PURIM CELEBRATION-Eretz Israel, 19th c. Rush, B. (2002) The Jewish Year: Celebrating the

Holidays. New York: Stewart Taborri & Chang Collection of Isaac Einhorn, Tel Aviv/Erich Lessing/Art Resource, NY

The celebration of this merry holiday in uniqueJews generally do not drink alcohol The only exception is for ceremonial wineOn Purim, they are urged to drink “ad d’lo yada”That is, until they can’t the difference between

“Cursed be Haman” and “Blessed be Mordecai” This illustration is specific to its time and placeNotice the fur brimmed streiml, a Hasidic 17th c hatNotice, too, the middle eastern Fez with tassel

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PURIM MASK-Ita Aber, 1977-78 Rush, B. (2002) The Jewish Year: Celebrating the Holidays. NY: Stewart Taborri & Chang. Gift of the Artist The Jewish Museum, NY

Yeshiva students would do imitations of their rabbis/teachers A yeshiva Purim highlight was the reading of “Purim Torah”These are frivolous dissertations on the Talmud and lawThey often used witty parodies of Talmudic textsOne example is the non-existent tractate “Purim” A special Purim guide was also composed and publicly read It was a parody of the Passover Hagaddah and Seder Satirical poetry was also sung at these yeshivah festivitiesThe poems were set to simple repetitive tunesPurim kings were crowned with pomp and circumstance They took oaths to observe the laws of the prophet HabakkukHabakkuk was also known as “the bottle” In Hasidism, the Purim Rabbi was chosen on the first of AdarHe conducted parodies of Hasidic rabbinic discoursesHe did this while sitting aside the Hasidic Rabbi

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PURIM WINE JUG-Syria, 19th c. Grossman, G. (1995). Jewish Art. NY: Hugh Lauter LevinEtched glass. 7 7/8 x 5 1/2 in. (20 x 14 cm) Hebrew Union College, Skirball Museum, Los Angeles Kirschstein Collection

This is a Purim jug for wine, in etched amber glass The inscription on the neck is in ArabicOn the body it’s in HebrewOnly a few bottles of this type remain Several hanging lamps of etched glass have also survived The inscription on this bottle is the Kiddush for the Sabbath Around the neck, the Arabic writing appears to be decorative Syrian Jewish glassblowers worked in the 17th and 18thcThe glassworker may have been illiterate or not jewishThis is thought due to the misspellings

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GROGGER-Vienna, Austria, 1826Snyder, J. (2004). The Jewish World 365 Days. NY: Harry N. Abrams, Inc

Congregants turn noisemakers to drown out Haman’s name During the reading of Megilla Esther in synagogue on PurimHe symbolizes the various enemies of the Jewish people The Russian grogger depicts Haman’s hanging for his crimesThere is a clown’s hat on the top of the Viennese noisemaker

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GROGGER-Russia, 19TH C. Korn, I. (1996). A Celebration of Judaism in Art. New York: TodtriRush, B. (2002) The Jewish Year: Celebrating the Holidays. NY: Stewart Taborri & Chang. Silver. The Jewish Museum, New York/Art Resource, NY.

Notice that Haman is hung in the roundel of this grogger

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GROGGER-Cyprus, 1947Barnavi, E. (Ed.)(1992). Historical Atlas of the Jewish People.NY: Knopf

Purim noisemakers are sounded by children (and some adults) They make noise to drown out the name of Wicked HamanThat is when the Scroll of Esther is readThis grogger was made in a detention camp in Cyprus, 1947

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HAMAN AND HIS TEN SONS-Northern Germany, mid-14th c.

Sassoon Collection, Letchworth, England

This image is of Haman and his 10 sons hanging from a gallowsMordecai prepared the gallowsA Jewish artist pictured this scene This was the popular tradition in northern Germany, mid-14th c.This is a page from the De Castro BibleThis Bible contains a manuscript of the bible & the 5 Scrolls The weekly portion from the Prophets are includedNathaniel the scribe wrote the BibleLevi ben David vocalized it in January 1344

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HANGING HAMAN’S SONS-Leonard Baskin, 1972Baskin, L. (1984). The Five Scrolls. CCAR

Seven hundred years later, the same topic is depictedThe artist ‘hangs’ Haman’s sons amidst the textThe modernist approach informs his aesthetic

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PURIM-Minhogimbukh, Venice, 1601Kosofsky, S. M. (2004). The Book of Customs. San Francisco: Harper Collins

The Purim revelers wear Venetian Carnavale costumes They were worn in the commedia Dell’arte

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PURIM CELEBRATION- Shlomo Maduro, Amsterdam,1707-23/68 Kanof, A. (1973). Jewish Ceremonial Art. NY: Harry Abrams

Another custom on Purim was the burning of Haman in effigy It was a relief from the constant oppression of the JewsThis custom dates back to Talmudic timesIt happened in Macedonia, Byzantium, medieval Germany, Italy These celebrants are dressed in jester costumes They are consistent with a Royal Court!

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THE MUSIC ACADEMY HEBREW BALL-NY, March 14, 1865Korn, I. (1996). A Celebration of Judaism in Art. NY: Todtri American Jewish Historical Society, Waltham, MA

This is an illustration of a Purim BallThe first one was held in 1862These balls were attended by both Jews and non-Jews It was held on March 14, 1865 at the Academy of Music in NYIt was an extravagant example of the masquerade parties held Charity balls were popular in mid-19th century America The Purim Ball was a highlight of the Jewish social season Notice the partygoer dressed as a Hanukkah dreidlThis illustration appeared in a Massachusetts publicationInterest by people outside NYC indicates its importance

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PURIM BALL-New York, 1881Grunberger, M. (Ed.) (2004). From Haven to Home. Wash, DC Library of Congress

This is an announcement for the 1881 Purim Ball in NYCNotice that the proceeds will benefit the Building Fund It helped the Hebrew Benevolent and Orphan Asylum Society

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PURIM BALL-Munich, Germany, 1932Gidal, N. T. (1998). Jews in Germany from Roman Times to the Weimar Republic. Gutersloh: Konemann

This is the Jewish Choral Society of Munich, GermanyThe photograph was taken in 1932They are all in costume for their Purim celebrationAmerican adults rarely dress in costumeThis was not so in the past and in other parts of the world

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PURIM CARNIVAL-Tel Aviv, 1930s Barnavi, E. (Ed.) (1992). Historical Atlas of the Jewish People NY: Alfred A. Knopf

The new culture in Eretz Israel was rooted in the Haskalah It was nourished on nationalism and modernizationIt emphasized its difference from the old Yiddish culture Nostalgia was the foundation for the approach of E. Europe This poster is clearly in the modernist idiomFlat pattern, Clear, clean shapes characterize itIt advertises a Purim carnival in Tel Aviv in the 1930s

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PURIM ARRIVES-Mea Shearim, 1980sSnyder, J. (2004). The Jewish World 365 Days. NY: Harry N. Abrams, Inc

In Jerusalem, Purim is celebrated on Shushan PurimIt is the fifteenth of AdarThis photograph is of a typical Hasidic family in JerusalemThe children are dressed up and hold MISHLOAH MANOTThose are traditional gifts of foodFather wears his fur STREIMEL hatIt is usually worn on the Sabbath and festivals

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PURIM WALL DECORATION-Sara Eydel WeisssburgJerusalem, l.19th cPerforated paper embroidered with wool and silk67 x53 cmGift of Mrs. Pearl Schwartz, s1337

One can follow the action as in a comic strip

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CELEBRATION-Marc Chagall, 1916-1918Harshav, B. (2006). Marc Chagall and the Lost Jewish World NY: Rizzoli

Chagall was inspired by childhood memories of his wife, BellaHe set this Purim celebration in a typical Russian villageChildren bear gifts of food for friends, family, and neighbors The custom of giving gifts survives today among some JewsThey send friends cakes, fruits and ‘Hamantaschen” The latter is a German word meaning “Haman’s pockets” These are triangular shaped pastries They are filled with fruit, cheese, or poppy seeds Today these gifts are often sent on paper platesIn the past special plates were usedThey were often made of pewter and decoratedThey had quotations or scenes from the Book of Esther Emphasis was placed especially on the Triumph of Mordechai Some congregations had collections cups used for Purim

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PURIM WALL DECORATION-Maier Schwartz, Vienna, 1929

Printed on paper, mounted on cardboard, 35.9 x 45.7 cm. Gift of Dr. Harry G. Friedman, F 4308

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FEAST OF LOTS: PURIM-Chaim Gross, 1967Soltes, A., Abrams, J. & Blecher, A. (1968). The Jewish Holidays, Customs, and Traditions by Chaim Gross. NY: Associated American Artists

Chaim Gross was primarily a sculptorHis light-hearted depictions of Purim capture the spirit

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DRESSED FOR PURIM-Malcah Zeldis, 1985 McDonough, Y. Z. (1996). Moments in Jewish Life: Folk Art of Malcah Zeldis. NY: Friedman/Fairfax

A childlike simplicity characterizes this joyous painting Purim symbols are evidentThese are the grogger, mask, and costumes Zeldis’ chose vibrant primary colors: red, yellow, blueThese create a stimulating and happy environment for Purim

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SHALACH MANOT-Malcah Zeldis, 1995 McDonough, Y. Z. (1996). Moments in Jewish Life: Folk Art of Malcah Zeldis. NY: Friedman/Fairfax

Zeldis used high intensity bright colors in a naïve styleShe shows the tradition of giving gifts to othersThe children in the two families wear Purim costumesAn elderly man waits for them to join him at the table

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Memory and remembrance are central concepts in JudaismThey are also at the core of most jewish festivalsOn Purim, Jews remember their narrow escapeThey remember the occasions on when Haman did prevailThat is, a symbolic Haman—as he has had many successorsThe artist deals with the darker aspects of this festivalThese are children at a Purim party in Paris Jewish schoolThese photographs were taken in 1939They were taken just before most of them diedThey did not die of natural causes, but were murderedTheir festive costumes bestow an individual identityThis would be taken away from then not longer after PurimFor Boltanski, photographs possess the connotation of deathThey are reminiscent of the still-preserved clothing The items Jews removed before entering the gas chambersHe says: “They have in common that they are simultaneously

present and absent”The lights are associated with the memorial lights Jews burnBoltanski’s photographs are blurred and anonymousThey are symbols of the Holocaust and of death in generalBoltanski was born in Paris, 1944,when it was liberatedHis Jewish father came out of hiding to register his birthHis non-Jewish mother had hidden his fatherChristians may chose to be Jewish but Jews could not

THE FESTIVAL OF PURIMChristian Boltanski, 1988 Van Voolen, E.(2006).Jewish Art and Culture. Munich: Prestel Verlag. 10 Black and white and color photographs. 41 Lights, 1 Tin box, 210 X 120. cm (82 11/18 x 47 1/4”) the Israel Museum, Jerusalem, Israel. Gift of the artist in memory of Jacques Ohayon.

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PURIM PLATES-Amsterdam, 1785 Grossman, G. (1995). Jewish Art. NY: Hugh Lauter Levin, IncFaience. Diameter of each: 9 5/8 in. (24.4 cm). Hebrew Union College Skirball Museum. Kirschstein Collection

These plates honor Rabbi Moses ben Aaron and his wife Bayle Their daughter and son-in-law commissioned the platesThis highlighted the custom of exchanging gifts on PurimThey are dated 13th of Adar [5] 545 (1785)These plates all have the same shape and border designThey have the same interior frame for Hebrew phrases

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SHALACH MANOT PLATE-Les Islettes, France, 18th c. Grossman, G. (1995). Jewish Art. NY: Hugh Lauter LevinKorn, I. (1996). A Celebration of Judaism in Art. NY: Todtri Snyder, J. (2004). The Jewish World 365 Days. NY: AbramsFaience. The Israel Museum, Jerusalem One plate is in Les Islettes (Meuse); Musee de Cluny, Paris Gift of Eliahu Siddi Given in memory of his parents, Raphael and Hanna Sidd

The border text is from the Purim mandate in Esther 9:22It is to “send portions one to another and gifts to the poor” In the center is a humiliated HamanHe wears his signature three-cornered hatHe leads Mordecai, wearing Haman’s royal cloak, on horsebackThe figures are identified by name and by the verse:

“Thus shall be done to the man whom the king delights to honor.” (Esther 6:11)

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SHALACH MANOS PLATE-1813Grossman, C. (1989). A Temple Treasury. NY: Hudson HillsMaster: [?]SRF Zinn. Pewter. Cast and rolled. EngravedDiameter 8 3/8 in; (21/3 cm). Width of rim 1 3/8 in. (3.5 cm)Mark: Master. Inscribed on rim: Sending portions to one another and gifts to the poor (Esther 9:22)In the year [5] 573, according to the sh[ort] c[ounting] (1813)There is a six pointed star inscribed with circle containing overlapping circles, petals, and three interlocking fishBetween outer corners of star, birds, and liliesSwaab, 1984. (CEE85-4)

The Hebrew word for “to the poor” has a playful misspellingIt is based on a change in the Hebrew grammatical rootThe change is to one that means, “to bake”It stressed baked goods, the usual gift on Purim A local engraver did the crosshatched engravingHe bought the blank plate from a Christian pewter artisan This is because Jews were not allowed in the pewter guildTheir artistry was limited to decorationThe designs usually came from booksHere the tooled lettering and design imitate embroidery The intertwined fish may be that the owner’s name was Karp

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ESTHER SCROLL CASES-Middle East, 17-19th c. Keller, S. (Ed.) The Jews. NY: Hugh Lauter Levin AssocFrom Yemen, Turkey, Persia, MoroccoSir Isaac/Lady Edith Wolfson Museum Hechal Shlomo, Jerusalem

The Megillot are as starkly plain as the Torah scroll itself Family-owned megillot are ornamentedJewish Artists generally did the illuminationsThe dramatic story of Purim lends itself to illustrationMaster illuminators and folk artists illuminated it There are no decorated Megillot before the sixteenth century This does not mean they did not exist before that timeIt simply means that either they did not surviveOr they haven’t been discovered yet! Decorated Megillot were rare in Oriental Jewish communitiesFigurative art was almost never seen on their MegillotThis was due to the iconoclasm of the Muslims mainstream

Italian 16-18th c. megillot are considered particularly specialThe scrolls were often kept in cases made of carved wood Decorated silver cases had scenes from the Book of EstherThese were often gifts from the bride to her bridegroom

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ESTHER SCROLL- Salom D’Italia, Amsterdam, 17th cGrossman, G. (1995). Jewish Art. NY: Hugh Lauter Levin, IncEtching and manuscript on parchment4 7/8 x 71 5/8 in. (12.4 x 181.9 cm)Jewish Historical Museum, Amsterdam

Salom d’Italia was born in MantuaHe came from a well-known family of printers After Austria invaded, Jews were expelled from the city He spent some time in VeniceHe ultimately settled in Amsterdam He made several different designs of Esther scrolls A portal type design influenced many other artists In this Megillah, the text is written in round medallionsThe architectural elements are not prominentThey are part of the repeating motif between the roundelsThey are accompanied by vases of flowers and rabbit headsAbove each medallion a lion or bear menacingly eyes a lamb The story of Esther appears in the panels beneath the text

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ESTHER SCROLL-Italian, Walters Art Museum, e. 17th c.

This is an Italian Esther ScrollIt is from a nearby Museum, The Walters, in BaltimoreThe design of megillot is frequently in segmentsIt is parallel to Oriental scrollsThey are intended to be opened to only one sectionThis is to encourage contemplation and comprehensionso, too, this Megillot Esther scroll

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ESTHER SCROLL-Aryeh Loeb ben Daniel of Guria, Italy, 18th c Grossman, G. (1995). Jewish Art. NY: Hugh Lauter Levin, IncAryeh Loeb ben Daniel of Guria, Italy, mid-18th cInk on parchment. Height: 9 in. (22.9 cm). Hebrew Union College, Skirball Museum, Los AngelesKirschstein Collection, formerly the Frauberger Collection

Esther and Mordechai are shown between the text columns A Polish scribe-artist, living in Italy, created this scrollMordecai wears the regal garb of contemporary nobilitybirds and “Esther Story” vignettes are in the upper borderScenes from the story are in the small lower medallions Lions flank theseThe artist combined folk images of Poland with Italian curvesHe achieved an integrated composition

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ESTHER SCROLL-Germany, early 18th c. Grossman, G. (1995). Jewish Art. NY: Hugh Lauter Levin, IncPen and ink, and gouache on parchment10 x 117 in. (25.4 x 297.2 cm)The Israel Museum, Jerusalem

This artist is the most famous one in the world: Anonymous There are three other known scrolls done in a similar handThe characters in the Purim story wear 18th c. dress Zodiac roundels frame the textA man points to Pisces, the sign of the Hebrew month of Adar This is the month when Purim is celebratedThe zodiac may refer to the lots cast to select the month This is when Haman wanted to annihilate the Jews

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ESTHER SCROLL--Corfu, Greece, 1708. Korn, I. (1996). A Celebration of Judaism in Art. NY: Todtri Ink and tempera on parchment; 46 3/4 x 10 1/4 in(120 x 26.5 cm)Israel Museum, Jerusalem

Megillah Esther is the only decorated book of the bible Traditionally, human figures are shown throughout Corfu was the apex of the decoration of 18th c., KetubbotIt also was the source of many Esther Scrolls Italian aesthetics influenced their imagery

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ESTHER SCROLL-Italy, c. 1700. Kaniel, M. (1989). A Guide to Jewish Art. NY: Allied Books.Ink and gouache on parchment, carved ivory roller Collection of the B’nai Brith Klutznick Jewish Museum

This Megillot is barely two inches highIt has scenes from the Purim storyThese celebrate the triumph of virtue and faithThey support courage over wickedness, and cowardiceIt may have been intended for the use of a traveling merchantItalian Esther Scrolls use many colors and column dividers

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ESTHER SCROLL-Italy, c. 1700 Kaniel, M. (1989). A Guide to Jewish Art. NY: Allied BooksInk and gouache on parchment, carved ivory rollerCollection of the B’nai Brith Klutznick Jewish Museum

This Megillot is barely two inches highIt has scenes from the Purim storyThese celebrate the triumph of virtue and faithThey support courage over wickedness, and cowardice It may have been used by a traveling merchantThe stylistic approach is somewhat naïve The illustrator does not employ linear perspectiveIt was strongly characteristic of Italian work Especially so after the Renaissance, in the l.15th-e.16th c. Since Jews were not allowed to be members of the guildsThis illustrator may have been a Jewish folk artist

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SCROLL OF ESTHER-Northern Italy, mid-18th c. Grossman, G. (1995). Jewish Art. NY: Hugh Lauter Levin, Inc Ink, gouache, gold and silver paint on parchment 21 1/2 x 202 5/8 in. (54.6 x 514.7 cm) Michael and Judy Steinhardt Collection

This Megillah’s composition relates to KetubbotBoth often use an architectural approachNorthern Italian illuminated marriage contracts are similarThe text is framed in a highly decorated archwayAllegorical figures and narratives appear in each manuscriptBelow the text are additional scenes from the Esther storySpiraling columns are a reminder of Boaz and JoachimThose columns were in front of King Solomon’s Temple

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ESTHER SCROLL-Italy, early 18th c. Illuminated parchment Collection of the B’nai Brith Klutznick Jewish Museum Kaniel, M. (1989). A Guide to Jewish Art. NY: Allied Books

A colonnade frames the handwritten text These are inside rectangular areasDepictions of the main characters in the Book of EstherThese are found at the capitals of the columns

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ESTHER SCROLL (detail)-Italy, e. 18th c. Illuminated parchmentB’nai Brith Klutznick National Jewish Museum Collection Kaniel, M. (1989). A Guide to Jewish Art. NY: Allied Books

A vase with flowers surmounts each imageActors’ masks are below each columnBetween the columns are depictions from the story of Purim These are above and below the textThis view continues the Esther storyConsidering its small size, how many people read this scroll?Were they seated around a table?Was it just read by adult men? Was it held during a synagogue serviceFurther research is needed to answer these questions

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ESTHER SCROLL-Italy, 18th c. Gold and metalwork with turquoise B’nai Brith Klutznick National Jewish Museum Collection

These illuminations are only at the beginning of the readingSpiral columns separate each segmentAgain there are visual references to Boaz and Joachim

Those two columns stood at the entrance to the TempleThis case was probably done by a jewish craftsmanHe may have lived in Arabic landsThose Jews were especially known for their filigree workThey also were experts in setting cabachon stones

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ESTHER SCROLL-Eastern Europe, e. 19th c. B’nai Brith Klutznick National Jewish Museum Collection

Esther Scrolls contain the biblical Book of Esther Narrative scenes and decorative motifs adorn the scrollThe scroll is fully unrolled prior to reading Only then does the reader chant the textThis Esther case is intricately decorated with repousseBas-Relief is the technique to create raised imagesPounding on the reverse side creates the dimensionA globular form surmounts the top of the caseIt resonates with royal crowns and Onion domes

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ESTHER SCROLL AND SHEET OF BLESSINGS-Izmir, 1873Grossman, G. (1995). Jewish Art. NY: Hugh Lauter LevinSilver, parcel gilt; ink on parchmentHeight: 11 3/4 (30 cm); diameter: 1 3/89 (3.5 cm)

The Gross Family Collection, Tel Aviv

Megillah and gold filigree case were a wedding giftThey were for the son-in-law of a wealthy Izmir merchant This type of filigree originated in IzmirThis Megilla is from the late 19th c. in TurkeyThe highly patterned meticulous border motif is repeated It is in the larger portal archways, which divide the textThe blessing recited before the reading is at the beginningA bouquet of flowers separates it from the story

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ESTHER SCROLL IN LEATHER CASE-Germany, 1834Grossman, C. (1989). A Temple Treasury. NY: Hudson Hills Vellum. Height 4 5/8 in. (11.2 cm). Text columns 3 7/16” x 2 5/8” (8.7 x 6.7 cm), 27 lines Case: Leather, covered cardboard, tooledLength 4 ½” (11.5 cm), diameter 1 1/4” (3.2 cm) Inscribed: On the birthday of my beloved husband,

Franz Koritschoner, 1832Gift of Mrs. Louise Brandeis Popper, Maternal Great-

Granddaughter of the Original Owner, 1982(CDD 82-111)

This is a “Ha-Melekh” (or “The King”) scrollIt was copied so the word “King” opens every column This emphasis is an oblique reference to the King of KingsIt was a way of instilling God’s name in the text The scroll is written on vellumIt is the skin of an unborn calf or goatIt is a much finer surface than parchment It is of much higher quality

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The silver case bears a Vienna 1840 hallmarkDouble-headed eagle in a circle indicates an Austrian originThe fine Ashkenazic scroll is in the Ha-Melekh styleThe name of God does not appear in the textThe letter ‘shin’ is attached to ‘hay’ at the top of the columns This suggests ha Shem, one of the names of God It is not in the scroll But always rememberedThis cylindrical container has embossed and chased panels They are of roses and petalled flowers in high reliefThey alternate with unadorned flat bandsRounded beaded bands are at the top and bottom border There is a cast flower-shaped case handle at bottomAt the top, there is an open flower finialIt is one of the names of God

FLOWERED PURIM CASE AND ESTHER SCROLL-E. Europe, 1840

Grossman, C. (1989). A Temple Treasury. NY: Hudson Hills Gift of Mr. And Mrs. Henry M. Toch, 1928

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ESTHER SCROLL-Ze’ev Raban, Jerusalem, 1927Altshuler, L. (1988). In The Spirit of Tradition, Wash., DC B'nai B'rith Klutznick National Jewish Museum

Architectural frameworks are common on Esther scrollsThey are along with illustrations of scenes in the story Artists probably used book or stage sets as models

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MEGILLA CASE-Bezalel, Eretz Israel, 1950s. Altshuler, L. (1988).In The Spirit of Tradition, Wash., DC B'nai B'rith Klutznick National jewish Museum

Jews read the Scroll of Esther to celebrate PurimJews are obligated to hear the Megillah read aloud. It is read from an unadorned handwritten parchment scroll This is an annual commemoration of their victoryCongregants follow along from embellished versionsSome have elaborate carved wood, silver, or ivory cases

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MEGILLOT CASE-Smilovici, 20th c.Grossman, C. (1989). A Temple Treasury. NY: Hudson Hills MASTER: Moshe Smilovici, Tel Aviv, 1950sSilver, niello, appliqué, and engraving: semiprecious stones Height 7 3/4 in. (19.7 cm). Scroll: Parchment: handwrittenHeight 2 3/4 in.(7 cm).Text columns 2 1/8 x 3 1/8 in. (5.4 x 7.9cm) Gift of Arthur Diamond in memory of Estelle,1978/CEE 783

Lucica Koffler Smilovici identified the case as her husbands’ His name was Moshe Smilovici and he lived from 1912-1962 The case clearly identifies itself by its exuberant style Smilovici worked with old silver for collageHe usually added set colored stones to enrich the surfaceThis is one of his best works, characterized by:

Sophisticated foolish charmJuxtaposition of unrelated materialsUse of color with silverSlightly askew dimensions

The scroll was written in 1938

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GREAT MOURNING-Ze’ev Raban, Tel Aviv, 1947Raban, Z. (1982). Raban Remembered. Yeshiva University Museum Exhibition. NY. “Sinai”, Tel Aviv, publisherPhotographed by Allan RokachYeshiva University Museum, NY

This is an illustration to a Book of Esther (4:3), 1947

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ARDASIR BOOK-Persia, 17th c. Grossman, G. (1995). Jewish Art. NY: Hugh Lauter Levin, Inc. Paper. 9 7/8 x 7 5/8 in. (25.1 x 19.4 cm) The Jewish Theological Seminary of America, NY

This is an Ardasir Book, Judeo-Persian bookThe Esther story is interwoven into a classic 10th c. tale The latter is about the history of PersiaThe heroes are Ardasir, who is identified with King AhasuerusHere, the king seeks a new queen after banishing Vashti

The Ardasir book is not a MegillahIt is a manuscript composed in Judeo-Persian in 1332 The Jewish poet Maulana Sahin composed it

His work was based on the Sahnameh, written in the 10th c. That is a classic work of Persian cultureThe 1st chapter of the Ardasir Book is from the SahnamehThe Esther story is combined with Jewish and Muslim legends This demonstrates the integration of cultural traditions

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PURIM DOLLS-Yemen, 1930s Snyder, J. (2004). The Jewish World 365 Days. NY: Harry Abrams Wood, rags, plastic, metal37 x 24.5, 39 x 29.5 cm Permanent Loan of Salman Schocken, Tel Aviv The Israel Museum. Photograph by David Harris

These Purim dolls are from YemenThey are made of wood and ragsThey represent Haman and Zeresh, the villains in the storyYoung boys pulled them through the streets in a cartLaughter, noisemakers and toy guns accompanied them Eventually the dolls were kicked off or burnedThey symbolically did this to ‘smite Haman’ The custom was also known in other Jewish communities

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PURIM BREAD Snyder, J. (2004). The Jewish World 365 Days. NY: Harry N. Abrams, Inc. Photograph: Israel Museum/Orpa Slapak

On Purim, Jews send each other gifts of foodIn Morocco these foods included a special breadIt was called KBEBZA DI PURIM or BOYOZAThe bread was baked in various shapes and formsHowever, it always contained eggs in their shellThe number of eggs are the no. of the children in the familyThey also symbolized the eyes of Haman

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PURIM SHIVITI-Kurdistan, 19th c. Kaniel, M. (1989). A Guide to Jewish Art. NY: Allied Books. Paper. Height: 13 inches (33 cm.)

This Shiviti has Songs and prayers relating to PurimIt also features a depiction of Psalm 67 in micrographyMicrography is the writing a text in very tiny letters These form the configuration of shape of some objectMany people consider this the only unique Jewish art styleThus, the psalm forms a seven-branched menorahThis Psalm

Acknowledges God’s presence Asks God to show us favor

It states that He should be revered to the ends of the earth

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In the Art World, it is said that the love of:

art cannot be TAUGHTIt can only be CAUGHT!CAUGHT!

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The Art of The Art of PurimPurim

contagious to you today!

I hope I’ve made