Eastern European Jewish Traditionalism and the Jewish-Palestinian Style of Bezalel School: Two Directions of Synagogue Decoration in Eretz-Yisrael
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KOTLYAR, Eugeny. Eastern European Jewish Traditionalism and the Jewish-Palestinian Style of Bezalel School: Two Directions of Synagogue Decoration in Eretz-Yisrael. In: Patrimoniul cultural: cercetare, valorificare, promovare, Ed. 10, 30-31 mai 2018, Chișinău. Chișinău: Institutul Patrimoniului Cultural, 2018, Ediția 10, p. 183. ISBN 978-9975-84-063-7.
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Patrimoniul cultural: cercetare, valorificare, promovare
Ediția 10, 2018
Conferința "Patrimoniul cultural: cercetare, valorificare, promovare"
10, Chișinău, Moldova, 30-31 mai 2018

Eastern European Jewish Traditionalism and the Jewish-Palestinian Style of Bezalel School: Two Directions of Synagogue Decoration in Eretz-Yisrael


Pag. 183-183

Kotlyar Eugeny
 
State Academy of Design and Arts, Kharkiv
 
Disponibil în IBN: 12 iunie 2018



Teza

The development of synagogue decoration in Eretz-Yisrael during the period of Jewish state’s formation is closely tied to Eastern European aliyah, part of which remained faithful to Orthodox Judaism, while the remainder chose Zionist ideals. Both shared a common tradition originated in Rzeczpospolita, however, they differed starkly. An old, messianic concept dominated in the approach of the Orthodox Jews, identifying exclusively with the religious views of the world. This tradition can be seen in the paintings of synagogues of Jerusalem, Safed, Petah Tikva and Rosh Pina circa the end of the 19th century, and it continued in the first half of the 20th century, culminating in the work of Yitzhak Beck and the murals in the Great Yeshiva in Mea-Shearim (Jerusalem, 1949). A different direction was taken by the artists of the school ‘Bezalel’ (Zeev Raban, Yaakov Stark) with their programme of biblical Zionism. Building upon Zionist trends of synagogue wall painting, popular in Eastern Europe, they propelled synagogue decoration to new heights. Their work gave new life to the old biblical themes in the cycles of ‘12 Tribes of Israel’ and ‘7 Fruits of Eretz-Yisrael’. Stylistically, it became the representation of the ‘new synagogue style’ (Boris Shatz) or the ‘Jewish-Palestinian style of Bezalel school’, which synthesized Jewish symbols with the plasticity of styles of modernity and realism, as well as the decorative aesthetics of Middle Eastern art crafts. The new language and symbolism of synagogue decoration were actively used in the decor of civic buildings. These vectors of the development of synagogue decoration reflected the ideological and aesthetic platform of the two main Jewish religious groups – isolation and integration with the secular world. In the artistic sense both of them remained truthful to the tradition, which from the second half of the 20th century was increasingly replaced by new modernist trends.