1921 Original BUDKO BEZALEL Jewish ART HAGGADAH Judaica HEBREW Passover WOODCUTS

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1921 Original BUDKO BEZALEL Jewish ART HAGGADAH Judaica HEBREW Passover WOODCUTS:
$145.00

DESCRIPTION : Up for sale is a magnificently DESIGNED and ILLUSTRATED Jewish - Judaica ARTHAGGADAH Shel PESSACH ( Passover ) , One of the most impressive ART HAGGADAH which were ever created . It\'s the JOSEPH BUDKO of BEZALEL illustrated ART HAGGADAH . The Haggadah was published in 1921 ( First Edition ) by Levit WEIEN - BERLIN. 100 copies of this Haggadah were numbered and leather bound . For sale is a regular copy. The HAGGADAH is throughout illustrated by BUDKO : Illustrations , Miniatures, Vignettes and decorations. Original LUXURIOUS illustrated CLOTH HC. Gilt & Embosses ILLUSTRATED and DECORATED headings. 7\" x 8 \". 42 pp on high quality paper . Traditional Hebrew text . Throughout illustrated . The condition is very good . Used on Sedder nights. Original cloth HC . Most of the leaves are clean. Minor wine stains on some pages.Stronger wine stains on 6 pages. ( Please look at scan for actual AS ISimages)Book will be sent in a specialprotective rigid sealed package.
AUTHENTICITY : Thisis anORIGINAL1921 Haggadah , NOT a reproduction or a recent reprint , It holds a life long GUARANTEE for its AUTHENTICITY and ORIGINALITY.PAYMENTS : Payment method accepted : Paypal .SHIPPMENT : SHIPP worldwide via registered airmail is $ 19 .Haggadah will be sent inside a protective envelope . Handling within 3-5 days after payment. Estimated Int\'l duration around 14 days.
MORE DETAILS :One of the most ancient parts is the recital of the \"Hallel,\" which, according to the Mishnah (Pes. v. 7), was sung at the sacrifice in theTemple in Jerusalem, and of which, according to the school of Shammai, only the first chapter shall be recited. After the Psalms a benediction for the Redemption is to be said. This benediction, according to R. Tarfon, runs as follows: \"Praised art Thou, O Lord, King of the Universe, who hast redeemed us, and hast redeemed our fathers from Egypt.\" Another part of the oldest ritual, as is recorded in the Mishnah, is the conclusion of the \"Hallel\" (up to Ps. cxviii.), and the closing benediction of the hymn \"Birkat ha-Shir,\" which latter theAmoraimexplain differently (Pes. 116a), but which evidently was similar to the benediction thanking God, \"who loves the songs of praise,\" used in the present ritual. These benedictions, and the narrations of Israel\'s history in Egypt, based on Deut. xxvi. 5-9 and on Josh. xxiv. 2-4, with some introductory remarks, were added in the time of the earlyAmoraim, in the third century CE. In post-Talmudic times, during the era of the Geonim, selections frommidrashimwere added; most likely Rabbi Amram Gaon (c. 850) was the originator of the present collection, as he was the redactor of the daily liturgy in thesiddur. Of these midrashim one of the most important is that of the four children, representing four different attitudes towards why Jews should observe Passover. This division is taken from theJerusalem Talmud(Pes. 34b) and from a parallel passage in Mekilta; it is slightly altered in the present ritual. Other rabbinic quotes from theaggadahliterature are added, as the story of R. Eliezer, who discussed the Exodus all night with four other rabbis, which tale is found in an altogether different form in theTosefta. The oldest surviving complete manuscript of the Haggadah dates to the 10th century. It is part of a prayer book compiled bySaadia Gaon. It is now believed that the Haggadah first became produced as an independent book incodexform around 1,000.[11]Maimonides(1135-1204), who included the Haggadah in his code of Jewish law, theMishneh Torah. Existing manuscripts do not go back beyond the thirteenth century. When such a volume was compiled, it became customary to add poetical pieces. The earliest known Haggadot produced as works in their own right are manuscripts from the 13th and 14th centuries, such as \"The Golden Haggadah\" (probably Barcelona c. 1320) and the \"Sarajevo Haggadah\" (late fourteenth century). It is believed that the first printed Haggadot were produced in 1482, inGuadalajara, Spain; however this is mostly conjecture, as there is no printer\'scolophon. The oldest confirmed printed Haggadah was printed inSoncino, Lombardyin 1486 by theSoncino family. Although the Jewish printing community was quick to adopt theprinting pressas a means of producing texts, the general adoption rate of printed Haggadot was slow. By the end of the sixteenth century, only twenty-five editions had been printed. This number increased to thirty-seven during the seventeenth century, and 234 during the eighteenth century. It is not until the nineteenth century, when 1,269 separate editions were produced, that a significant shift is seen toward printed Haggadot as opposed tomanuscripts. From 1900–1960 alone, over 1,100 Haggadot were printed.[12] While the main portions of the text of the Haggadah have remained mostly the same since their original compilation, there have been some additions after the last part of the text. Some of these additions, such as thecumulative songs\"One little goat\" (\"חד גדיא\") and \"Who Knows One?\" (\"אחד מי יודע\"), which were added sometime in the fifteenth century, gained such acceptance that they became a standard to print at the back of the Haggadah. The text of the Haggadah was never fixed in one, final form, as no rabbinic body existed which had authority over such matters. Instead, each local community developed its own text. A variety of traditional texts took on a standardized form by the end of the medieval era on the Ashkenazi (Eastern European), Sephardic (Spanish-Portuguese) and Mizrahi (Jews of North Africa and the Middle east) community. TheKaraites[13][14]and also theSamaritansdeveloped their own Haggadot which they use to the present day.[15] During the era of theEnlightenmentthe European Jewish community developed into groups which reacted in different ways. Orthodox Judaismaccepted certain fixed texts as authoritative and normative, and prohibited any changes to the text. Modern Orthodox JudaismandConservative Judaismallowed for minor additions and deletions to the text, in accord with the same historical-legal parameters as occurred in previous generations. Rabbis within the Conservative Judaism, studying the liturgical history of the Haggadah and Siddur, conclude that there is a traditional dynamic of innovation, within a framework conserving the tradition. While innovations became less common in the last few centuries due to the introduction of the printing press and various social factors, Conservative Jews take pride in their community\'s resumption of the traditional of liturgical creativity within a halakhic framework.[citation needed] Reform Judaismholds that there are no normative texts, and allowed individuals to create their own haggadahs. Reform Jews take pride in their community\'s resumption of liturgical creativity outside a halakhic framework;[citation needed]although the significant differences they introduced make their texts incompatible with Jews who wish to follow a seder according to Jewish tradition. It is not uncommon, particularly in America, for haggadot to be produced by corporate entities, serving as texts for the celebration of Passover, but also as marketing tools and ways of showing that certain foods are kosher.[16] Illuminated manuscripts[edit] Rylands Hagaddahpp 19 & 20 The earliest Ashkenazi illuminated Haggada is known as the \"Bird\'s Head Haggada\",[17]now in the collection of TheIsrael Museumin Jerusalem.[18]TheRylands Haggadah(Rylands Hebrew MS. 6) is one of the finest Haggadot in the world. It was written and illuminated inCataloniain the 14th century and is an example of the cross-fertilisation between Jewish and non-Jewish artists within the medium of manuscript illumination. In spring and summer 2012 it was exhibited at theMetropolitan Museum of Art, New York, in the exhibition \'The Rylands Haggadah: Medieval Jewish Art in Context\'.[19][20] The British Library\'s 14th centuryBarcelona Haggadah(BL Add. MS 14761) is one of the most richly pictorial of all Jewish texts. Meant to accompany the Passover eve service and festive meal, it was also a status symbol for its owner in 14th-century Spain. Nearly all its folios are filled with miniatures depicting Passover rituals, Biblical and Midrashic episodes, and symbolic foods. Afacsimile editionwas published by Facsimile Editions of London in 1992. Published in 1526, thePragueHaggadah is known for its attention to detail in lettering and introducing many of the themes still found in modern texts. Although illustrations had often been a part of the Haggadah, it was not until the Prague Haggadah that they were used extensively in a printed text. The Haggadah features over sixtywoodcutillustrations picturing \"scenes and symbols of the Passover ritual; [...] biblical and rabbinic elements that actually appear in the Haggadah text; and scenes and figures from biblical or other sources that play no role in the Haggadah itself, but have either past or future redemptive \"telling\"; plural:Haggadot) is aJewishtext that sets forth the order of thePassover Seder. Reading the Haggadah at the Seder table is a fulfillment of theScriptural commandmentto eachJewto \"tell your son\" of the Jewish liberation from slavery inEgyptas described in theBook of Exodusin theTorah(\"And thou shalt tell thy son in that day, saying: It is because of that which the LORDdid for me when I came forth out of Egypt.\"Ex. 13:8). SephardiandMizrahiJews also apply the termHaggadahto theservice itself, as it constitutes the act of \"telling your son.\" Contents[hide] 1 Passover Seder according to the Haggadah 1.1 Kadeish(blessings and the first cup of wine) 1.2 Ur\'chatz(wash hands) 1.3 Karpas(appetizer) 1.4 Yachatz(breaking of the middle matzah) 1.5 Magid(relating the Exodus) 1.6 Rohtzah(ritual washing of hands) 1.7 Motzi Matzah(blessings over the Matzah) 1.8 Maror(bitter herbs) 1.9 Koreich(sandwich) 1.10 Shulchan Orech(the meal) 1.11 Tzafun(eating of theafikoman) 1.12 Bareich(Grace after Meals) 1.13 Hallel(songs of praise) 1.14 Nirtzah 2 Authorship 3 History 4 Illuminated manuscripts 5 See also 6 Notes 7 References 8 Bibliography 9 External links Passover Seder according to the Haggadah[edit] Main article:Passover Seder Kadeish(blessings and the first cup of wine)[edit] Kadeishis Hebrew Imperative forKiddush. ThisKiddushis similar to that which is recited on all of thepilgrimage festivals, but also refers tomatzotand the exodus from Egypt. Acting in a way that shows freedom and majesty, many Jews have the custom of filling each other\'s cups at the Seder table. The Kiddush is traditionally said by the father of the house, but all Seder participants participate by reciting the Kiddush and drinking at least a majority of a cup of wine. Ur\'chatz(wash hands)[edit] Technically, according toJewish law, whenever one partakes of fruits or vegetables dipped in liquid while remaining wet, one must wash one\'s hands, if the fruit or vegetable remains wet. However, other times of the year either one has already washed one\'s hands before eating bread, or dry the fruit or vegetable, in which case, one need not wash one\'s hands before eating the fruit or vegetable. According to most traditions, no blessing is recited at this point in the Seder, unlike the blessing recited over the washing of the hands before eating bread. However, followers ofRambamor theGaon of Vilnado recite a blessing. Karpas(appetizer)[edit] Each participant dips a vegetable into eithersalt water(Ashkenazi custom; said to serve as a reminder of the tears shed by their enslaved ancestors),vinegar(Sephardi custom) orcharoset(older Sephardi custom; still common amongYemenite Jews). Another custom mentioned in some Ashkenazi sources and probably originating withMeir of Rothenburg,[citation needed]was to dip the karpas inwine. Yachatz(breaking of the middle matzah)[edit] Threematzotare stacked on the seder table; at this stage, the middle matzah of the three is broken in half. The larger piece is hidden, to be used later as theafikoman, the \"dessert\" after the meal. The smaller piece is returned to its place between the other two matzot. Magid(relating the Exodus)[edit] The story of Passover, and the change from slavery to freedom is told. At this point in the Seder,Moroccan Jewshave a custom of raising theSeder plateover the heads of all those present while chanting \"Bivhilu yatzanu mimitzrayim, halahma anya b\'nei horin\" (In haste we went out of Egypt [with our] bread of affliction, [now we are] free people). Ha Lachma Anya(invitation to the Seder) Main article:Ha Lachma Anya A bronzematzoplate designed byMaurice Ascalon, inscribed with the opening words ofHa Lachma Anya Thematzotare uncovered, and referred to as the \"bread of affliction\". Participants declare (inAramaic) an invitation to all who are hungry or needy to join in the Seder.Halakharequires that this invitation be repeated in the native language of the country. Mah Nishtanah(The Four Questions) Main article:the four questions TheMishnadetails questions one is obligated to ask on the night of the seder. It is customary for the youngest child present to recite the four questions.[1]Some customs hold that the other participants recite them quietly to themselves as well. In some families, this means that the requirement remains on an adult \"child\" until a grandchild of the family receives sufficient Jewish education to take on the responsibility. If a person has no children capable of asking, the responsibility falls to the spouse, or another participant.[2]The need to ask is so great that even if a person is alone at the seder he is obligated to ask himself and to answer his own questions.[2] Ma nishtana ha lyla ha zeh mikkol hallaylot? Why is this night different from all other nights? Shebb\'khol hallelot anu okh’lin ḥamets umatsa, vehallayla hazze kullo matsa. Why is it that on all other nights during the year we eat either leavened bread or matza, but on this night we eat only matza? Shebb\'khol hallelot anu okh’lin sh’ar y\'rakot, vehallayla hazze maror. Why is it that on all other nights we eat all kinds of vegetables, but on this night we eat bitter herbs? Shebb\'khol hallelot en anu matbillin afillu pa‘am eḥat, vehallayla hazze sh\'tei fe‘amim. Why is it that on all other nights we do not dip [our food] even once, but on this night we dip them twice? Shebb\'khol hallelot anu okh’lin ben yosh’vin uven m\'subbin, vehallayla hazze kullanu m\'subbin. Why is it that on all other nights we dine either sitting upright or reclining, but on this night we all recline? A fifth question which is present in the mishnah has been removed by later authorities due to its inapplicability after theDestruction of the Temple: 5.Shebb\'khol hallelot anu okh’lin basar tsali shaluk umvushal, vehallayla hazze kullo tsali. Why is it that on all other nights we eat meat either roasted, marinated, or cooked, but on this night it is entirely roasted? The four questions have been translated into over 300 languages.[3] We eat only matzah because our ancestors could not wait for their breads to rise when they were fleeing slavery in Egypt, and so they were flat when they came out of the oven. We eat only Maror, a bitter herb, to remind us of the bitterness of slavery that our ancestors endured while in Egypt. The first dip, green vegetables in salt water, symbolizes the replacing of our tears with gratitude, and the second dip, Maror in Charoses, symbolizes the sweetening of our burden of bitterness and suffering. We recline at the Seder table because in ancient times, a person who reclined at a meal was a free person, while slaves and servants stood. We eat only roasted meat because that is how the Pesach/Passover lamb is prepared during sacrifice in the Temple at Jerusalem. The Four Sons The traditional Haggadah speaks of \"four sons\"—one who is wise, one who is wicked, one who is simple, and one who does not know to ask. This is based upon the rabbis of theJerusalem Talmudfinding four references in the Torah to responding to your son who asks a question.[4]Each of these sons phrases his question about the seder in a different way. The Haggadah recommends answering each son according to his question, using one of the three verses in the Torah that refer to this exchange. The wise son asks \"What are the statutes, the testimonies, and the laws that God has commanded you to do?\" One explanation for why this very detailed-oriented question is categorized as wise, is that the wise son is trying to learn how to carry out the seder, rather than asking for someone else\'s understanding of its meaning. He is answered fully:You should reply to him with [all] the laws of pesach: one may not eat any dessert after the paschal sacrifice. The wicked son, who asks, \"What is this service to you?\", is characterized by the Haggadah as isolating himself from the Jewish people, standing by objectively and watching their behavior rather than participating. Therefore, he is rebuked by the explanation that \"It is because God acted formysake whenIleft Egypt.\" (This implies that the Seder is not for the wicked son because the wicked son would not have deserved to be freed from Egyptian slavery.) Where the four sons are illustrated in the Haggadah, this son has frequently been depicted as carrying weapons or wearing stylish contemporary fashions. The simple son, who asks, \"What is this?\" is answered with \"With a strong hand the Almighty led us out from Egypt, from the house of bondage.\" And the one who does not know to ask is told, \"It is because of what the Almighty did for me when I left Egypt.\" Some modern Haggadahs mention \"children\" instead of \"sons\", and some have added a fifth child. The fifth child can represent the children of theShoahwho did not survive to ask a question[5]or representJewswho have drifted so far from Jewish life that they do not participate in a Seder.[6] For the former, tradition is to say that for that child we ask \"Why?\" and, like the simple child, we have no answer. \'\"Go and learn\" Four verses inDeuteronomy(26:5-8) are then expounded, with an elaborate, traditional commentary. (\"5. And thou shalt speak and say before the LORDthy God: \'A wandering Aramean was my parent, and they went down into Egypt, and sojourned there, few in number; and became there a nation, great, mighty, and populous. 6. And the Egyptians dealt ill with us, and afflicted us, and laid upon us hard bondage. 7. And we cried unto the LORD, the God of our parents, and the LORDheard our voice, and saw our affliction, and our toil, and our oppression. 8 And the LORDbrought us forth out of Egyptwith a strong hand and an outstretched arm, and with great terribleness, and withsigns, and with wonders.\") The Haggadah explores the meaning of those verses, and embellishes the story. This telling describes the slavery of the Jewish people and their miraculous salvation by God. This culminates in an enumeration of theTen Plagues: Dam(blood)—All the water was changed to blood Tzefardeyah(frogs)—An infestation of frogs sprang up in Egypt Kinim(lice)—TheEgyptianswere afflicted bylice Arov(wild animals)—An infestation of wild animals (some say flies) sprang up in Egypt Dever(pestilence)—A plague killed off the Egyptian livestock Sh\'chin(boils)—An epidemic ofboilsafflicted the Egyptians Barad(hail)—Hail rained from the sky Arbeh(locusts)—Locusts swarmed over Egypt Choshech(darkness)—Egypt was covered in darkness Makkat Bechorot(killing of the first-born)—All the first-born sons of the Egyptians were slain by God With the recital of the Ten Plagues, each participant removes a drop of wine from his or her cup using a fingertip. Although this night is one of salvation, the sages explain that one cannot be completely joyous when some of God\'s creatures had to suffer. Amnemonicacronymfor the plagues is also introduced: \"D\'tzach Adash B\'achav\", while similarly spilling a drop of wine for each word. At this part in the Seder, songs of praise are sung, including the songDayenu, which proclaims that had God performed any single one of the many deeds performed for the Jewish people, it would have been enough to obligate us to give thanks. After this is a declaration (mandated by Rabban Gamliel) of the reasons of the commandments of thePaschal lamb,Matzah, andMaror, with scriptural sources. Then follows a short prayer, and the recital of the first two psalms ofHallel(which will be concluded after the meal). A long blessing is recited, and the second cup of wine is drunk. ******Joseph Budko(geb.27. August1888inPłońsk,Polen; gest.17. Juli1940inJerusalem) war ein berühmter jüdisch-polnischer Künstler, der überwiegend inBerlinund später in Jerusalem wirkte. Leben[Bearbeiten|Quelltext bearbeiten] Budko studierte bereits ab 1902 an der KunstschuleWilna. 1909 kam er nach Berlin, wo er dasZiselierhandwerkund denKupfersticherlernte. Ab 1910 studierte er an der Unterrichtsanstalt desBerliner Kunstgewerbemuseumssowie beiHermann Struck, als dessen Lieblingsschüler Budko galt. Ab Mitte der 1920er Jahre widmete er sich verstärkt auch der Malerei. 1933 emigrierte Joseph Budko nachPalästina, wo er 1934 bis 1940 Direktor der Neuen Kunstgewerbeschule Bezalel School for Arts & Crafts (seit 1969:Bezalel Academy of Arts and Design) in Jerusalem war. Joseph Budko war ein versierter Graphiker, der vor allem mitRadierungen, Kaltnadel-Arbeiten undHolzschnittenhervortrat. Er schuf zahlreiche Illustrationen, u. a. Die Juden von Bacharach (1921) vonHeinrich Heine,Psalmen(1919), Derbabylonische Talmud(1924) vonBialikund zu Werken vonSchalom Asch, Schmarja Gorelik,David Frischmann,Arno NadelundScholem Alejchemsowie hervorragendeExlibris, bei denen er häufig hebräische Schriftzeichen verwendete. Für denJüdischen Verlag, den Verlag für jüdische Kunst und Kultur Fritz Gurlitt sowie den Verlag Eschkol entwarf Budko Buchumschläge (z. B. für die Serie Jüdische Bücherei) und Signets (etwa für die Neuen Jüdischen Monatshefte). Budko strebte eine von traditioneller jüdischer Symbolik und Gedankengut getragene jüdische Kunst an. In diesem Zusammenhang sind seine Mappenwerke mit eindeutig religiösen Aussagen, z.B.Haggada schel Pessach(26 Kaltnadel-Arbeiten, 1917), bzw. Einzelgraphiken, besonders die Schabkunst-Blätter wieDer zürnende MosesoderJeremias tröstet die Mutter Rahel, zu sehen (alle zwischen 1917 und 1930). Einen weiteren Themenbereich Budkos bildet die ihm aus seiner Jugend vertraute Welt der ost-jüdischenSchtetlechsowie das Motiv desEwigen Juden, den er oft in der Konfrontation eines alten Mannes mit einer jungen Frau darstellt. Nach 1933 beschäftigte er sich in seiner Kunst auch mit israelischen Landschaften.[1][2]*****JosephBudko Polish 1888-1940 JosephBudkowas amongst an influential group of graphic minded Jewish artists who embraced the revival of the woodcut, a medium which lent itself perfectly to express the views ofIsraeland Jewish culture in various lands. Born inPoland,Budkostudied art inGermanyunder the instruction of Hermann Struck and the influence of Jacob Steinhardt. Mixing his personal attitude with Jewish outlook; melding Jewish tradition and modern artistic approach,Budkosoon developed his own powerful style, influencing future great artists in turn—Marc Chagall being no exception.Budkohas been credited with resurrecting the spirit of book illustration by elevating it to modern design. Eventually moving toIsrael, JosephBudkobecame the head of theBetzalalAcademyinPalestinewhen it re-opened in 1935. He remained in this position until his untimely death, in 1940. **** 4056