Embracing Icons: the Face of Jacob on the Throne of God*
Images 2007_f13_36-54 8/13/07 5:19 PM Page 36 RACHEL NEIS University of Michigan EMBRACING ICONS: THE FACE OF JACOB ON THE THRONE OF GOD* Abstract I bend over it, embrace, kiss and fondle to it, Rachel Neis’ article treats Hekhalot Rabbati, a collection of early and my hands are upon its arms, Jewish mystical traditions, and more specifically §§ 152–169, a three times, when you speak before me “holy.” series of Qedusha hymns. These hymns are liturgical performances, As it is said: holy, holy, holy.1 the highlight of which is God’s passionate embrace of the Jacob icon Heikhalot Rabbati, § 164 on his throne as triggered by Israel’s utterance of the Qedusha. §§ 152–169 also set forth an ocular choreography such that the For over a century, scholars conceived of the relation- gazes of Israel and God are exchanged during the recitation of the ship between visuality in Judaism and Christianity Qedusha. The article set these traditions within the history of sim- in binary terms.2 Judaism was understood as a reli- ilar Jewish traditions preserved in Rabbinic literature. It will be argued that §§ 152–169 date to the early Byzantine period, reflecting gion of the word in opposition to Christianity, a Jewish interest in images of the sacred parallel to the contempo- which was seen as a deeply visual culture. For raneous Christian intensification of the cult of images and preoccupation many scholars, never the twain did meet—Jews with the nature of religious images. were always “the nation without art,” or “artless,”3 while for much of their history Christians embraced Bear witness to them 4 5 of what testimony you see of me, icons, creating visual representations of the divine.
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