By J. Cheryl Exum, Ela Nutu
Can a portray or representation of a biblical scene support readers comprehend the Bible? Conversely, to what volume can wisdom a few biblical tale support audience savor an artist's portrayal of it? studying biblical artwork is greater than an issue of asking even if an artist 'got it correct' or 'got it wrong'. This full of life number of essays seeks to set up a discussion among the Bible and artwork that sees the biblical textual content and inventive representations of it as equivalent dialog companions. through texts and canvases from varied angles, the 9 participants to the quantity show how biblical interpretation can shed vital gentle on paintings, how artwork can give a contribution considerably to biblical interpretation and the way each one has whatever certain to provide to the interpretative job. Contributions comprise J. Cheryl Exum on Solomon de Bray's Jael, Deborah and Barak, Hugh S. Pyper on depictions of the connection among David and Jonathan, Martin O'Kane at the biblical Elijah and his visible afterlives, Christina Bucher at the track of Songs and the enclosed backyard motif in fifteenth-century work and engravings of Mary and the child Jesus, Ela Nutu on modifications within the means male and female artists have represented Judith, Christine E. Joynes on visualizations of Salome's dance, Heidi J. Hornik on Michele Tosini's Nativity, option to Calvary and Crucifixion as visible narratives, Kelly J. Baker on Henry Ossawa Tanner's The Annunciation and Nicodemus, and Christopher Rowland on William Blake and the hot testomony.
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Additional info for Between the Text and the Canvas: The Bible and Art in Dialogue
Hertzberg, Hans Wilhelm, Die Bücher Josua, Richter, Ruth (Göttingen: Vandenhoeck & Ruprecht, 1969). Jost, Renate, Gender, Sexualität und Macht in der Anthropologie des Richterbuches (BWANT, 164; Stuttgart: Kohlhammer, 2006). Lindars, Barnabas, Judges 1–5: A New Translation and Commentary (Edinburgh: T. & T. Clark, 1995). , and Don C. Benjamin, The Social World of Ancient Israel 1250–587 BCE (Peabody, MA: Hendrickson, 1993). Mazar, Benjamin, ‘The Sanctuary of Arad and the Family of Hobab the Kenite’, JNES 24 (1965), pp.
EXUM Shared Glory 27 The contrast between Deborah and Jael in de Bray’s painting is dramatic. Jael is young and sexual, whereas Deborah is aged, wrinkled and not at all feminine. If there is a hint of the femme fatale in his Jael, de Bray assures his viewers that there is nothing of the femme fatale in Deborah, only the femme forte. Deborah’s hands, pressed together in prayer, form a stark contrast to Jael’s, which hold her weapons. They are large and illuminated against the dark background, emphasizing her intercessory role.
See the detailed analyses of Meir Sternberg, The Poetics of Biblical Narrative: Ideological Literature and the Drama of Reading (Bloomington: Indiana University Press, 1985), pp. 270-83; Amit, ‘Judges 4’, pp. 99-104. 17. ‘Sisera’ stands for the Canaanite army as well as the individual, just as the statement that Barak had gone up to Mount Tabor (v. 12) refers to all the Israelite troops. See Sternberg, Poetics of Biblical Narrative, pp. 278-80, on the way this double referencing contributes to the richness and ambiguity of the narrative.
Between the Text and the Canvas: The Bible and Art in Dialogue by J. Cheryl Exum, Ela Nutu