Between the Text and the Canvas: The Bible and Art in by J. Cheryl Exum, Ela Nutu

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 enjoy an artist's portrayal of it? reading biblical paintings is greater than an issue of asking even if an artist 'got it correct' or 'got it wrong'. This full of life choice of essays seeks to set up a discussion among the Bible and artwork that sees the biblical textual content and creative representations of it as equivalent dialog companions. through taking a look at texts and canvases from assorted angles, the 9 participants to the quantity demonstrate 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 specific to supply to the interpretative activity. Contributions contain 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 tune of Songs and the enclosed backyard motif in fifteenth-century work and engravings of Mary and the baby Jesus, Ela Nutu on changes within the method male and female artists have represented Judith, Christine E. Joynes on visualizations of Salome's dance, Heidi J. Hornik on Michele Tosini's Nativity, method 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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Extra info for Between the Text and the Canvas: The Bible and Art in Dialogue

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62. For arguments that Jael, like Deborah, should be considered a military hero, see Hackett, ‘In the Days of Jael’, p. 28; Yee, ‘By the Hand of a Woman’, pp. 110-17; Ackerman, Warrior, Dancer, Seductress, Queen, pp. 59-72. 63. Sternberg, Poetics of Biblical Narrative, p. 282. Sternberg’s patriarchal reading brings to the surface the patriarchal ideology implicit in the text. 64. One can see this clearly in the denial of the mother’s sexuality in the story of another judge, Samson; see J. Cheryl Exum, Fragmented Women: Feminist (Sub)versions of Biblical Narratives (Valley Forge, PA: Trinity Press International; Sheffield: Sheffield Academic Press, 1993), pp.

54); cf. Bal, Death and Dissymmetry: ‘he anticipates that his manliness may be questioned’ (p. 213), ‘his destruction is his unmanning’ (p. 214). 69. Cf. g. b. Nid. 55b); on rabbinic treatments of Jael and Deborah, see Leila Leah Bronner, ‘Valorized or Vilified? ), A Feminist Companion to Judges, pp. 78-91. Bronner observes that, whereas Jael receives a mixed reception, the rabbis consistently sought to diminish Deborah’s role as judge and leader. Apparently Deborah posed more of a problem for rabbinic interpreters than Jael because the text did not already provide some support for undermining her role.

14-18). But her relationship with Barak is not a particularly harmonious one, and one could question the degree of mutual respect they display. Given this surplus of textual information and ambiguity, what does de Bray choose to convey to the viewer about Deborah? For de Bray, Deborah is the religious inspiration for Israel’s victory, whereas Barak is the military hero. I have already mentioned the way de Bray pictures Deborah hemmed in by the two figures who encroach upon her leadership role in the text, Barak, with whom she shares the limelight at the beginning of the story, and Jael, who snatches the glory from both of them at the end.

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