La présence (in)visible de Dieu: étude des personnages ailés dans la haggadah d'or (Add. 27210)
The author shows that at least six of the 17 winged figures painted in the narrative cycle of the Golden Haggadah (Catalonia, first half of the 14th century, now in the British Library) represent God in a very clear manner. After briefly commenting on the abstract representation of God in the Saraje...
| Subtitles: | La présence invisible de Dieu |
|---|---|
| Main Author: | |
| Format: | Electronic/Print Article |
| Language: | French |
| Check availability: | HBZ Gateway |
| Journals Online & Print: | Drawer...
|
| Fernleihe: | Fernleihe für die Fachinformationsdienste |
| Published: |
Sage
[2014]
|
| In: |
Studies in religion
Year: 2014, Volume: 43, Issue: 3, Pages: 467-497 |
| Standardized Subjects / Keyword chains: | B
Golden Haggadah
/ Haggada von Sarajevo
/ Jewish art
/ God (Motif)
/ Anthropomorphism
|
| RelBib Classification: | AA Study of religion BH Judaism KAF Church history 1300-1500; late Middle Ages KBH Iberian Peninsula |
| Online Access: |
Volltext (doi) |
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| 520 | |a The author shows that at least six of the 17 winged figures painted in the narrative cycle of the Golden Haggadah (Catalonia, first half of the 14th century, now in the British Library) represent God in a very clear manner. After briefly commenting on the abstract representation of God in the Sarajevo Haggadah, Hazan examines each of the 17 winged figures of the Golden Haggadah by confronting them with their textual sources. Finally, she exposes the authors' resistance to the idea of an anthropomorphic representation of God in Jewish art. This resistance, she believes, explains the fact that the imposing presence of God in the painted narrative cycle of the Golden Haggadah has hitherto remained unnoticed. | ||
| 520 | |a L'auteure montre ici que dans la haggadah d'or, produite en Catalogne durant la première moitié du XIVe siècle et conservée aujourd'hui à la British Library, au moins six des 17 figures ailées du cycle narratif imagé représentent Dieu de façon explicite. Après avoir brièvement commenté la représentation abstraite du divin dans la haggadah de Sarajevo, Hazan examine chacune des 17 figures ailées de la haggadah d'or en les confrontant aux textes sources. Pour finir, elle expose la résistance des auteurs à l'idée d’une représentation anthropomorphique de Dieu dans l'art juif, cette résistance expliquant selon elle le fait que la présence imposante de Dieu dans le cycle narratif imagé de la haggadah d'or soit demeurée invisible à ce jour. | ||
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