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The Dead Sea Scrolls and Gabriel Revelation Stone from the Israel
FOR IMMEDIATE RELEASE Two of the World’s Greatest Archeological Finds – The Dead Sea Scrolls and Gabriel Revelation Stone from the Israel Museum, Jerusalem – go on display for the first time in Hong Kong from tomorrow at the Asia Society Hong Kong Center Hong Kong, November 3, 2014 – Two of the world’s greatest archeological finds – the Gabriel Revelation Stone often called the ‘stone scroll’ and a replica of the Scroll of Isaiah, the only almost complete version of any biblical book among the Dead Sea Scrolls, goes on display in Hong Kong and China for the first time at the Asia Society Hong Kong Center from tomorrow till January 25, 2015, along with some 50 key artefacts from the Israel Museum, Jerusalem. In Temple, Scrolls and Divine Messengers: Archeology of the Land of Israel in Roman Times, the exhibition unravels the secrets and meanings behind the Gabriel Stone and Isaiah Scroll and through them, explores the significance of Jerusalem in the Second Temple Period between the 1st century BCE and the 1st century CE. Through films and by examining the various stone, glass, and pottery vessels on display, the exhibition also looks at the life and times of the city’s inhabitants and the importance of rituals and customs that govern their everyday lives. The lead sponsor of the exhibition is MetLife Foundation. The exhibition opens to the public tomorrow for a strictly limited 11 week season, closing on January 25, 2015. A public and educational program comprising workshops and lectures runs alongside the exhibition. Speaking at today’s opening, Ms. -
When You Join IFIM, You Will Enjoy a Wide Range of Benefits, Depending on the Membership Option You Choose
When you join IFIM, you will enjoy a wide range of benefits, depending on the membership option you choose All options include the following Membership categories: benefits: Four Association membership cards Friend (annual donation of NIS 1,500; valid for a year from day of payment, 80% tax deductible) granting free admission to the Israel All of the benefits listed at left Museum, Shrine of the Book, Rockefeller Archaeological Museum, Israeli Patron (annual donation of NIS and Ticho House 4,000; 90% tax deductible) All of the above benefits, plus listing Invitation to curator-led guided tours in the internationally distributed Israel of new exhibitions after regular Museum Journal Museum hours – for members only Invitation to special cultural trips International Patron (annual donation abroad, including viewings of private of NIS 12,000; 95% tax deductible) collections (supplementary fee) All of the above benefits, plus listing Group visits to private collections in the internationally distributed Israel and museums in Israel Museum Journal. International Patrons also receive a Guggenheim Art Pass Meetings with Israeli artists granting free admission for two to Invitation to the Museum’s several major museums abroad. International Council (supplementary fee) Guardian (annual donation of NIS 30,000; 100% tax deductible) Discounts for performances, lectures, Guardians sponsor a week in honor of and other cultural events at the the person or occasion of their choice. Museum Their contribution subsidizes admission Discounts at Museum shops, cafés, fees for children, students, soldiers, and restaurants, including Anna the disabled, and senior citizens. The Italian Café at Ticho House Guardian’s name appears on a plaque in the Museum’s Entrance Pavilion for Invitations to exhibition openings the duration of the sponsored week, Use of the Israel Museum Art Library as well as in the Israel Museum Journal. -
Anthropoid Coffins ⁄Eran Arie
Canaanites employed at both sites seem to have been inspired 11 lids in the Israel Museum Collection (most originally in the by the cultic activities there. Canaanite tombs of this period Dayan Collection and presumably from Deir el-Balah) have include a large number of Egyptian scarabs bearing images and been published (fig. 20). A coffin in the collection of the Hecht names of gods, but there is no evidence for the actual worship Museum, Haifa, and lids in the Bible Lands Museum, Jerusalem, of these gods by Canaanites, nor is there clear evidence for the all probably originating in Deir el-Balah, are still unpublished. existence in Canaan of temples dedicated to Egyptian gods. In addition, an anthropoid coffin made from chalk was found in Rather, the evidence suggests that, as in the Hyksos Period (but the course of salvage excavations at the site (Tomb 111), the only on an even larger scale), the Canaanites incorporated Egyptian stone anthropoid coffin to have come to light in the country thus prestige symbols into their cultural sphere but did not adopt far. Unfortunately, robbers had already destroyed its lid where Egyptian religious beliefs. the face had been in order to reach the treasures inside (and the coffin itself was robbed at a subsequent date). Finally, in the References: Egyptian fortress excavated at Deir el-Balah, northeast of the Albright 1941; Cornelius 1994; Cornelius 2004; Dothan 1979; Dothan cemetery, twenty additional fragments of coffins were found. 2008; Oren 1973; Tazawa 2009. Tests performed on the coffins from Deir el-Balah revealed that some had been discovered near the kilns in which they had been produced. -
The Jack, Joseph, and Morton Mandel Wing for Jewish Art and Life, the Israel Museum, Jerusalem
reviews 107 The Jack, Joseph, and Morton Mandel Wing for Jewish Art and Life, the Israel Museum, Jerusalem. All Roads Lead to Jerusalem entire Jewish heritage, as it portrays all aspects of life, and does not exclude the books as merely an The renewed Jack, Joseph, and Morton Mandel Wing artifact. for Jewish Art and Life at the Israel Museum opens The exhibition Holidays and Days of Remembrance with a circular motif symbolizing three stages of displays two short videos, screened back to back, life. The permanent exhibition, set inside a round, one relating to Memorial Day and the second to enclosed glass cabin, is titled The Rhythm of Life: Birth, Independence Day. Since the eve of Independence Marriage, Death. The objects on display relate to these Day is celebrated just minutes after Memorial Day life stages: baby clothing, a circumcision knife, ritual is over, the videos’ display is very symbolic. They are wedding jewelry, and a glass for a burial society’s physically and visually connected, as are these days annual banquet. In order to see the whole exhibi- in the Israeli consciousness. Visible to the visitor, tion, the visitor must enter the glass cabin, which without the need to enter a specific room in order provides a quick glance into these three aspects of to view the film, Yael Bartana’s movie is projected, life, common not only to Jews, but to all human entitled “Trembling Time” dedicated to Memorial cultures. While observing an object from one stage Days. On the other side of the wall, the movie of life, the visitor may simultaneously see, on the “Sacrifice”, made by Doron Solomons in 2010, other side, objects from another stage of life. -
Marten Stol WOMEN in the ANCIENT NEAR EAST
Marten Stol WOMEN IN THE ANCIENT NEAR EAST Marten Stol Women in the Ancient Near East Marten Stol Women in the Ancient Near East Translated by Helen and Mervyn Richardson ISBN 978-1-61451-323-0 e-ISBN (PDF) 978-1-61451-263-9 e-ISBN (EPUB) 978-1-5015-0021-3 This work is licensed under the Creative Commons Attribution-NonCommercial- NoDerivs 3.0 License. For details go to http://creativecommons.org/licenses/ by-nc-nd/3.0/ Library of Congress Cataloging-in-Publication Data A CIP catalog record for this book has been applied for at the Library of Congress. Bibliographic information published by the Deutsche Nationalbibliothek The Deutsche Nationalbibliothek lists this publication in the Deutsche Nationalbibliografie; detailed bibliographic data are available on the Internet at http://dnb.dnb.de. Original edition: Vrouwen van Babylon. Prinsessen, priesteressen, prostituees in de bakermat van de cultuur. Uitgeverij Kok, Utrecht (2012). Translated by Helen and Mervyn Richardson © 2016 Walter de Gruyter Inc., Boston/Berlin Cover Image: Marten Stol Typesetting: Dörlemann Satz GmbH & Co. KG, Lemförde Printing and binding: cpi books GmbH, Leck ♾ Printed on acid-free paper Printed in Germany www.degruyter.com Table of Contents Introduction 1 Map 5 1 Her outward appearance 7 1.1 Phases of life 7 1.2 The girl 10 1.3 The virgin 13 1.4 Women’s clothing 17 1.5 Cosmetics and beauty 47 1.6 The language of women 56 1.7 Women’s names 58 2 Marriage 60 2.1 Preparations 62 2.2 Age for marrying 66 2.3 Regulations 67 2.4 The betrothal 72 2.5 The wedding 93 2.6 -
Elam and Babylonia: the Evidence of the Calendars*
BASELLO E LAM AND BABYLONIA : THE EVIDENCE OF THE CALENDARS GIAN PIETRO BASELLO Napoli Elam and Babylonia: the Evidence of the Calendars * Pochi sanno estimare al giusto l’immenso benefizio, che ogni momento godiamo, dell’aria respirabile, e dell’acqua, non meno necessaria alla vita; così pure pochi si fanno un’idea adeguata delle agevolezze e dei vantaggi che all’odierno vivere procura il computo uniforme e la divisione regolare dei tempi. Giovanni V. Schiaparelli, 1892 1 Babylonians and Elamites in Venice very historical research starts from Dome 2 just above your head. Would you a certain point in the present in be surprised at the sight of two polished Eorder to reach a far-away past. But figures representing the residents of a journey has some intermediate stages. Mesopotamia among other ancient peo- In order to go eastward, which place is ples? better to start than Venice, the ancient In order to understand this symbolic Seafaring Republic? If you went to Ven- representation, we must go back to the ice, you would surely take a look at San end of the 1st century AD, perhaps in Marco. After entering the church, you Rome, when the evangelist described this would probably raise your eyes, struck by scene in the Acts of the Apostles and the golden light floating all around: you compiled a list of the attending peoples. 3 would see the Holy Spirit descending If you had an edition of Paulus Alexan- upon peoples through the preaching drinus’ Sã ! Ğ'ã'Ğ'·R ğ apostles. You would be looking at the (an “Introduction to Astrology” dated at 12th century mosaic of the Pentecost 378 AD) 4 within your reach, you should * I would like to thank Prof. -
Locating Digital Art Using the Test Case of Israeli Digital Artists
Susan Hazan Curator of New Media The Israel Museum, Jerusalem November 2004 [email protected] http://www.imj.org.il Locating [Israeli] digital art - artists think global and act local Introduction The Israel Museum, Jerusalem Global Versus Local Barriers of Language Online Beyond the Physical Museum and the National Anchor Simply denoted online Introduction This paper focuses on the problem of locating digital art using the test case of Israeli digital artists. Acting either globally or locally depends on three factors. The first would be concerned with affixing the national label, (such as Israeli artist), which would mean that at least the artist, if not the art work, could be actually located in a specific country. Through the Israeli case study it is apparent that many Israeli artists are not actually located in Israel and even if they are, they often reside and exhibit abroad. The second factor that determines how artistic [digital] work is disseminated and consumed globally or locally is a matter of artistic content. One of the ways that digital art becomes localised is through language, and through the incorporation of the Hebrew language into their palette, Israeli artists effectively limit their global reach. Of course this is not only a problem for Israeli artists but for all artists who draw on the written word as a crucial element of their digital creativity. The third issue this paper explores is concerned with locating digital art. When artists choose to exhibit their works online discarding both the physical museum and often their own national affiliation, the provenance of netart as a result becomes somewhat obscure. -
Nohra Haime Gallery
NOHRA HAIME GALLERY MENASHE KADISHMAN (1932-2015) 1932 Born in Tel Aviv, Israel 1950-53 Works as a shepherd in Kibbutz Ma'ayan Baruch and Kibbutz Yizreel 1959 Moves to London 1972 Moves back to Tel Aviv EDUCATION 1947-50 Studies with sculptor Moshe Sternschuss, Avni Institute, Tel Aviv 1954 Studies with sculptor Rudi Lehman, Jerusalem 1959-61 St. Martin's School of Art, London 1961-62 Slade School of Art, University of London PRIZES AND AWARDS 1960 America-Israel Cultural Foundation Scholarship 1961 Sainsbury Scholarship, London 1967 First Prize for Sculpture, 5th Paris Biennale 1978 Sandberg Prize, The Israel Museum, Jerusalem 1981 The Eugen Kolb Prize, The Tel Aviv Museum Prize of the Jury, Norwegian International Print Biennale, Fredrickstad 1984 The Pundik Prize, The Tel Aviv Museum 1989 King Solomon Award, America-Israel Foundation, New York ONE-PERSON EXHIBITIONS 1965 Grosvenor Gallery, London, England Harlow Arts Festival, Harlow, England 1967 Dunkelman Gallery, Toronto, Canada 1968 Goldberg Gallery, Edinburgh, Scotland 1970 The Jewish Museum, New York 1971 J.L. Hudson Gallery, Detroit, MI 1972 Museum Haus Lange, Krefeld, West Germany 1975 Israel Museum, Jerusalem, Israel Julie M. Gallery, Tel Aviv 1976 Rina Gallery, New York 1977 Unikorn Gallery, Copenhagen, Denmark 1978 Venice Biennale, Venice 1979 Israel Museum, Jerusalem: The Kadishman Connection Sari Levi Gallery, Tel Aviv 1981 Argaman Gallery, Tel Aviv University of Haifa Art Gallery, Haifa, Israel Sara Gilat Gallery, Jerusalem Goldman Gallery, Haifa Tel Aviv Museum, Tel Aviv 1982 Julie M. Gallery, Tel Aviv 500 WEST 21ST STREET, NEW YORK, NY 10011 212-888-3550 f: 212-888-7869 [email protected] nohrahaimegallery.com Sara Gilat Gallery, Jerusalem Art 13, Goldman Gallery, Basel, Switzerland 1983 Muhlenberg College, Allentown, PA CIAE, Goldman Gallery, Chicago, IL 1984 Julie M. -
The Camel in Sumerian, the Bactrian Camel in Genesis?
Bible Lands e-Review 2014/S3 ‘Sweeter Than Camel’s Milk’: The Camel in Sumerian, The Bactrian Camel in Genesis? Wayne Horowitz, The Hebrew University of Jerusalem and The Bible Lands Museum Jerusalem Introduction Much discussion in scholarly literature, and more recently of a popular nature on the internet, has focused on the issue of camel ownership by members of the Patriarchal family in the Book of Genesis. The context of this discussion is the chronological dating of the Genesis narrative where a number of passages depict the Patriarchs and Matriarchs of Israel as camel owners and riders. For example, Genesis 24:64 places Rebecca on camel back when she first catches sight of her husband to be Isaac, while in the next generation in Genesis 31:34, Rachel sits on a camel on her own journey to Canaan with her husband Jacob. The chronological implications of such passages for the dating of the Patriarchal Narratives are obvious. Such passages assure that the Patriarch Narratives in their current form cannot be earlier than the date of full camel domestication in the Ancient Near East, when camels came to be used as a means of transport. Consensus continues to place this date no earlier than the late second millennium BCE, the end of the Late Bronze Age, making this a terminus post quem for the Patriarchal Narratives themselves. However, there is some sporadic archaeological and art historical evidence which would allow for a Middle Bronze Age date for domestication of the camel, and so an earlier date for the historical background of the stories of the Patriarchs and Matriarchs of Israel.1 The short discussion below will suggest an alternative way of looking at this problem, based on textual evidence to be found in Sumerian. -
City and the Festival Cult Practices and Architectural Production in The
AE0120 AND HA0120 C I T Y A N D T H E F E S T I V A L CULT PRACTICES AND ARCHITECTURAL PRODUCTION IN THE ANCIENT NEAR EAST Joukowsky Institute of Archaeology and the Ancient World Brown University Spring 2007 SYLLABUS A course with Ömür Harmansah (Visiting Assist. Prof. of Near Eastern Art and Archaeology) Meets on Mondays, Wednesdays and Fridays 11:00-11:50 am (the so-called D-hour) Ömür's Office: Joukowsky Instutute (70 Waterman St.) Room 202 E-mail: [email protected] Office tel: 401-863-6411 Office Hours: Tuesday 10-12 am. (By appointment) C O U R S E D E S C R I P T I O N Cities are layered topographies of cultural histories, enchanted places of our social lives, messy landscapes of our everyday performances. Ancient cities were no less complex spaces in their liveliness. What did ancient cities look like and how were they shaped, in architectural form and in the imagination of its citizens? How do social events, festivals, cult practices, public spectacles shape the layout of a city? In the light of contemporary theories of urban space drawn from geography, architecture, cultural studies and anthropology, we will explore what makes a city a city in the first place, and attempt to make sense of the patchy and fragmentary archaeological evidence from the ancient Near East in understanding, reconstructing cities. The course will pay particular attention to issues of social dramas, spectacles and performances in the urban sphere, of urbanization, formation of urban space, and architectural projects in relation to cult practices and commemorative ceremonies in the Ancient Near East. -
Bringing Dance to Life
Home THEMARKER Economy & Finance Published 06:08 14.12.11 Latest update 06:08 14.12.11 Bringing dance to life Noa Eshkol, daughter of a prime minister and inventor of movement notation, lives on through the work of the American artist Sharon Lockhart in two new exhibitions. By Elad Samorzik Get Haaretz on iPhone Get Haaretz on Android When Sharon Lockhart was 22 and backpacking in Israel, in the early 80s, she spent two months tomato-picking in a Moshav in southern Israel, saving up for her next destination – India. Back then, one could hardly guess that decades later she would return, a successful artist, studying Noa Eshkol’s work and translating it into two exhibits: one in the Israel Museum in Jerusalem, which opened on Tuesday, and one in Tel Aviv’s Museum of Modern Art , which opens on Thursday. In fact, Lockhart had never even heard of Noa Eshkol until a few years ago. In 2008 she came to Israel for a short visit, part of a joint venture between the cities of Tel Aviv and Los Angeles, in order to examine ideas that might inform her work as an artist. Among them were museum preservation, anthropology, Bauhaus, textiles and post-modern dance. She rummaged in the textile division of the Israel Museum's storeroom for an entire day. It was great, she says, but Lockhart didn't really know what she was looking for. On her way back to Tel Aviv, Diana Shoef of the Center for Contemporary Art, who accompanied Lockhart on her visit, told her about Eshkol, who, along with the revolutionary movement notation she developed in the 1950s with Abraham Wachman, created dances and amazing wall carpets. -
Nimrod and Esau As Parallel Figures
215 In Search of Nimrod: Nimrod and Esau as Parallel Figures By: GEULA TWERSKY Introduction This study seeks to arrive at an understanding of the enigmatic character Nimrod, the mythical Assyrian conqueror and builder who plays a prom- inent role in the Genesis accounts of the development of evil after the flood. The methodology for arriving at such an understanding lies in an analysis of the parallel relationship between Nimrod and Esau, and by association, Assyria and Edom, the nation-states that they represent. The research presented here leads to an understanding of Esau/Edom as the literary successor of Nimrod and the Assyrian monarchy that he founded. Nimrod Most academic discussions concerning Nimrod focus on the improbable task of identifying him with an extra-biblical, known historical figure.1 S. 1 Cf. for example, Y. Levin, “Nimrod the Mighty, King of Kish, King of Sumer and Akkad,” VT 52.3 (2002): 350–64; Cf. also Nahum Sarna, Genesis, The JPS Torah Commentary, (ed. N. Sarna; Jerusalem: Jewish Publication Society, 1989), 73, who attempts to identify Nimrod with Naram-Sin; some have argued that Nimrod has his roots in a Mesopotamian deity. This was first suggested by J. Grivel, “Nemrod et les écritures cunéiformes,” Transactions of the Society of Biblical Archaeology 3 (1874), p. 136–144, and revived by E. Lipinski, “Nimrod et Assur,” Revue Biblique 73.1 (1966), p. 77–93, who related Nimrod to Marduk in the Bab- ylonian creation myth Enuma elis, “when on high.” Van der Toorn and P. W. van der Horst, Harvard Theological Review 83.1 (1990), p.