1930 Palestine SIGNED COPY Book RABAN BEZALEL Erotica DE LUX EDITION Art BIBLE


1930 Palestine SIGNED COPY Book RABAN BEZALEL Erotica DE LUX EDITION Art BIBLE

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1930 Palestine SIGNED COPY Book RABAN BEZALEL Erotica DE LUX EDITION Art BIBLE:
$995.00


DESCRIPTION : Up forsale isthe ORIGINAL ultra rare ARTIFACT. It\'s a HAND SIGNED copy , Numbered 14/400 copy of the DE-LUXE leather bound edition ( ENGLISH VERSION ) of the vintage Hebrew illustrated Biblical book of\"SONG OF SOLOMON - SHIR HASHIRIM\" ( Also known as \"SONG OF SONGS\" and \"CANTICLES\" ), In its JEWISH - ART version which was paintedand illustrated by ZEEV RABAN of the BEZALEL school of art in Jerusalem EretzIsrael. This COPY is HAND SIGNED ( Autographed ) by ZEEV RABAN in Latin letters \" Z.RABAN\" . Offered here for sale is the ORIGINAL 1930 ( Dated ) edition by “SONG OF SONGS” Publishing Co. in Jerusalem Eretz Israel. Printed by \"Azriel Press\" in Jerusalem. The RABAN COLOR PLATES were printed by \"EDITIONS ARTISTIQUES DE PARIS\" . This is copy number 14 out of only 400 numbered copies of the \"DE-LUXE EDITION\" , Printed on Brisol Alpha paper , Genuine leather bindind and HAND SIGNED by ZEEV RABAN. Such RABAN HAND SIGNED and NUMBERED copy , When very seldomly reaches an sale , Receives prices of $1000 and up. RABAN has created TWENTY SIX colorful IMAGES to accompany the Biblicalstory . RABAN\'s somewhat EROTIC illustrations follow the delicate EROTICA of the original BIBLICAL text which is related to KING SOLOMON. One more of RABAN’smasterpieces , Exquisite comlex and very delicate decorated illustrations – Thefull traditional biblical text is written in original calligraphy combinedwithin the ilustrations themselves. The 26 colorful full page illustrations aretipped in the books leaves of very heavy stock . Each such amazingpainting is signed in the print by Raban and is tipped in side by side with its decorated ENGLISH text on theopposite page . Full Biblical text of \" SONG OF SOLOMON \" in Hebrew . Published in 1930 by “SONG OF SONGS” Publishing Co. in Jerusalem Eretz Israel.Original illustrated and decorated in gold and silver genuine maroon leather HC .26 tipped in prints in vivid colors combined with SILVER and GOLD. Transparent yet ILLUSTRATED as issued tissue paper sheets to prptect each and every print. Extremely heavy stock. Size around 10\" x 13\" . Around 30 leaves ofvery heavy stock. plus 26 tipped in prints. Plus around 26 ptotective tissue papers. Very goodcondition . clean. Tightly bound. All prints are intact. All tissue papers are present and intact, No folds , tears or creases. The damaged spine was nicely and professionaly replaced by cloth spine. ( Please watch the scan for reliable AS ISimages ) Book willbe sent in a special protective rigid package.

PAYMENTS : Payment method accepted : Paypal .SHIPPMENT : Shipp worldwide via expedited registered airmailcosts $ 35 . will be sent inside a protective rigid envelope . Handling within 3-5 days after payment. Estimated Int\'l duration around 10 days.

Passover Hagadah.[2] Likeother European art nouveau artists of the period such as Alphonse Mucha Rabancombined commercial commissions with uncommissioned paintings. Raban designedthe decorative elements of such important Jerusalem buildings as the King DavidHotel, the Jerusalem YMCA [3], and Bikkur-Cholim Hospital. He also designed awide range of day-to-day objects, including playing cards (in the spade suit,the King is Ahasuerus, the Queen is Esther, and the joker is Haman), commercialpackaging for products such as Hanukkah candles and Jaffa oranges, bank notes,tourism posters, jewelry, and insignia for Zionist institutions. \"Rabaneasily navigated a wealth of artistic sources and mediums, borrowing andcombining ideas from East and West, fine arts and crafts from past and present.His works blended European neoclassicism, Symbolist art and Art Nouveau withoriental forms and techniques to form a distinctive visual lexicon. Versatileand productive, he lent this unique style to most artistic mediums, includingthe fine arts, illustration, sculpture, repousee, jewellery design, andceramics.\"[4] Raban also designed a wide range of Jewish objects,including Hanukkah menorahs, temple windows, and Torah arks.[5] Temple Emanuel(Beaumont, Texas) has a notable set of six windows, each 16-feet high]. Thewindows were commissioned from Raban in 1922 by Rabbi Samuel Rosinger. Eachwindow depicts an event in the life of one of the principal Hebrew prophets,Jeremiah, Elijah, Elisha, Ezekiel, Moses, and Isaiah. [6] Raban collaboratedwith other artists to produce versions of his work as ceramic tiles, a numberof which can still be sees on buildings in Tel Aviv and Jerusalem, includingthe Bialik House. The 1925 Lederberg house, at the intersection of RothschildBoulevard and Allenby Street features a series of large ceramic murals designedby Raban. The four murals show a Jewish pioneer sowing and harvesting, ashepherd, and Jerusalem with a verse from Jeremiah 31:4, \"Again I willrebuild thee and thous shalt be rebuilt.\"[7] Notes ^ Israeli painting:from post-Impressionism to post-Zionism, By Ronald Fuhrer, Overlook Press ,1998 , p. 24 ^ a b AATC Artists - Ze\'ev Raban ^ Jerusalem International YMCA -Architecture: the building ^ ^ Spertus | Spertus Museum | Chicago ^Jewish Stars in Texas: Rabbis And Their Work, By Hollace Ava Weiner, JimmyKessler, Texas A&M University Press, 2006, p. 241 ^ Chaim Nachman BialikHome, in Batia Carmiel, Tiles Adorned City; Bezalel ceramics on Tel AvivHouses, 1923-1929, Eretz Israel Museum, Tel Aviv, copyright 1996, book inHebrew and some English with illustrations Further reading Books RabanRemembered: Jerusalem\'s Forgotten Master, Essays and Catalogue of an Exhibitionat the Yeshiva University Museum, December 1982 Ze\'ev Raban, A Hebrew Symbolist,Batsheva Goldman Ida, Tel Aviv Museum of Art, 2001, 233 pp. Zeev Raban,1890-1970, By Zeev Raban, Malka Jagendorf, Published by Mayanot Gallery,Jerusalem,1993 Articles Goldfine, Gil. “Zeev Raban and the Bezalel style,”(Jerusalem Post , 2001-14-12) Cohen, Nurit Shilo. The \"Hebrew Style\"of Bezalel, 1906-1929. The Journal of Decorative and Propaganda Arts, Vol. 20.(1994), pp. 140–163 Manor, Dalia. “Biblical Zionism in Bezalel Art,” IsraelStudies 6.1 (2001) 55-75 ******* Born and initially trained in Lodz, Poland,Ze\'ev Raban (1890-1970) studied in a variety of academies around Europe - theSchool of Applied Art in Munich, the Beaux-Arts Academy in Paris, and the RoyalAcademy of Art in Brussels. In 1911 he met Boris Schatz, the founder of theBezalel Academy, a Zionist inspired school begun in 1903 to encourage a newJewish cultural/art/craft tradition in the Jewish homeland. In the latter halfof the 19th and the early 20th centuries a number of centers were establishedin order to develop \"new\" decorative arts. Among the more famous werethe firms of William Morris and Christopher Dresser in England, the Faberge\'sin Russia, the Wiener Werkstette in Austria, and the Tiffany Studios in theUnited States. These and similar workshops, frequently based on a political orsociological ideology, profoundly influenced the arts, crafts, architecture andindustrial design of the societies within which they functioned. Schatz\'s goalfor the Bezalel Academy and Workshops, in which Raban participated starting in1912, was to establish a Jewish arts and crafts tradition that combined thebest of European and indigenous Middle-Eastern cultures. Raban soon became amajor influence at the Bezalel. He played a central role at the Academyteaching repoussי work, painting, and sculptureand then directing the Graphics Press and the Industrial Art Studio of theBezalel Academy. By 1914 the majority of works produced in the Bezalelworkshops were designed by Raban. Raban was also an influential industrialdesigner in Palestine and later Israel. He designed posters, consumer goodspackaging (the most reproduced of which must have been the \"classic\"44 Chanukah candle box), and architectural elements for many of the importantbuildings of Palestine such as the YMCA building, the King David Hotel, theBezalel building, and the Bikur-Cholim Hospital. He also designed many of theceramic tiles that still decorate Tel-Aviv buildings. But arguably his mostimportant contributions were the illustrations he made for the various books hepublished - the Song of Songs, the Book of Ruth, the Book of Esther, the Bookof Job, and the Passover Haggadah. These illustrations represent the pinnacleof the \"Bezalel Style\" - a fusion of ‘oriental\' art and Jugendstil.However, with the emergence of \"modernism\", the influence of theBezalel Academy, as well of the many other design schools of that period waned.Recently, the work that came from these design movements as well as the designsof Raban have garnered new attention, and Bezalel pieces are now sought after.******** The Bezalel school was an art movement in Palestine in the lateOttoman and British Mandate periods. Named for the Bezalel Art School,predecessor of the Bezalel Academy of Art and Design, it has been described as\"a fusion of ‘oriental\' art and Jugendstil.\" [1] The Bezalel schoolartists blended \"varied strands of surroundings, tradition andinnovation,\" in paintings and craft objects that invokes \"biblicalthemes, Islamic design and European traditions,\" in their effort to\"carve out a distinctive style of Jewish\" art for the new nation theyintended to build in the ancient Jewish homeland. [2] The works of art createdby the group contributed significantly to the creation of a distinctive Israelinational culture. [3] The Academy was led by Boris Schatz, who left hisposition as head of the Royal Academy of Arts in Sofia, Bulgaria, to makealiyah 1906 and set up an academy for Jewish arts. All of the members of theschool were Zionist immigrants from Europe and the Middle East, with all thepsychological and social upheaval that this implies. [4] The school developed adistinctive style, in which artists portrayed both Biblical and Zionistsubjects in a style influenced by the European jugendstil ( or art nouveau)movement, by symbolism, and by traditional Persian and Syrian artistry.[5] Likethe British Arts and Crafts Movement, Wiener Werkstätte in Vienna, WilliamMorris firm in England, and Tiffany glass Studios in New York, the BezalelSchool produced decorative art objects in a wide range of media: silver,leather, wood, brass and fabric. While the artists and designers wereEuropean-trained, the craftsmen who executed the works were often members ofthe Yemenite community, which has a long tradition of craftsanship in preciousmetals, and began to make aliyah about 1880. Yemenite immigrants with theircolorful traditional costumes were also frequent subjects of Bezalel Schoolartists. Leading members of the school were Boris Schatz, E.M. Lilien,Ya\'akovStark, Meir Gur-Aryeh, Ze\'ev Raban, Jacob Eisenberg, Jacob Steinhardt, ShmuelBen David, and Hermann Struck. The artists produced not only paintings andetchings, but objects that might be sold as Judiaca or souvenirs. In 1915, theNew York Times praised the “Exquisite examples of filigree work, copper inlay,carving in ivory and in wood,” in a touring exhibit.[6] In the metalworkMoorish patterns predominated, and the damascene work, in particular, showedboth artistic feeling and skill in execution - The Song of Songs, also known asthe Song of Solomon or Canticles (Hebrew: שִׁירהַשִּׁירִים Šîr HašŠîrîm ; Greek: ᾎσμα ᾈσμάτων asma asmaton, both meaning\"song of songs\"), is one of the megillot (scrolls) of the Ketuvim(the \"Writings\", the last section of the Tanakh or Hebrew Bible), andthe fifth of the \"wisdom\" books of the Christian Old Testament.[1]Scripturally, the Song of Songs is unique in that it makes no reference to\"Law\", \"Covenant\" or to Yahweh, the God of Israel, nor doesit teach or explore \"wisdom\" in the manner of Proverbs orEcclesiastes (although it does have some affinities to Wisdom literature, asthe ascription to Solomon suggests). Instead, it celebrates sexual love.[2] Itgives \"the voices of two lovers, praising each other, yearning for eachother, proffering invitations to enjoy\".[3] The two are in harmony, eachdesiring the other and rejoicing in sexual intimacy; the women (or\"daughters\") of Jerusalem form a chorus to the lovers, functioning asan audience whose participation in the lovers\' erotic encounters facilitatesthe participation of the reader.[4] In modern Judaism, the Song is read on theSabbath during the Passover, which marks the beginning of the grain harvest aswell as commemorating the Exodus from Egypt. Jewish tradition reads it as anallegory of the relationship between God and Israel.[5] Christian tradition, inaddition to appreciating the literal meaning of a romantic song between man andwoman, has read the poem as an allegory of Christ (the bridegroom) and hisChurch (the bride).[6] Structure There is widespread consensus that, althoughthe book has no plot, it does have what can be called a framework, as indicatedby the links between its beginning and end.[7] Beyond this, however, thereappears to be little agreement: attempts to find a chiastic structure have notbeen compelling, and attempts to analyse it into units have used differingmethods and arrived at differing results.[8] The following must therefore betaken as indicative rather than determinative: Summary The introduction callsthe poem \"the song of songs\", a superlative construction commonlyused in the Scripture to show it as the greatest and most beautiful of allsongs (as in Holy of Holies).[10] It begins with the woman\'s expression ofdesire for her lover and her self-description to the \"daughters ofJerusalem\". She says she is \"black\" because she had to work inthe vineyards and got burned by the sun. A dialogue between the lovers follows:the woman asks the man to meet; he replies with a lightly teasing tone. The twocompete in offering flattering compliments (\"my beloved is to me as acluster of henna blossoms in the vineyards of En Gedi\", \"an appletree among the trees of the wood\", \"a lily among brambles\",while the bed they share is like a forest canopy). The section closes with thewoman telling the daughters of Jerusalem not to stir up love such as hers untilit is ready.[11] The woman recalls a visit from her lover in the springtime.She uses imagery from a shepherd\'s life, and she says of her lover that\"he pastures his flock among the lilies\".[11] The woman againaddresses the daughters of Jerusalem, describing her fervent and ultimatelysuccessful search for her lover through the night-time streets of the city.When she finds him she takes him almost by force into the chamber in which hermother conceived her. She reveals that this a dream, seen on her \"bed atnight\" and ends by again warning the daughters of Jerusalem \"not tostir up love until it is ready\".[11] The next section reports a royalwedding procession. Solomon is mentioned by name, and the daughters ofJerusalem are invited to come out and see the spectacle.[11] The man describeshis beloved: Her hair is like a flock of goats, her teeth like shorn ewes, andso on from face to breasts. Place-names feature heavily: her neck is like theTower of David, her smell like the scent of Lebanon. He hastens to summon hisbeloved, saying that he is ravished by even a single glance. The sectionbecomes a \"garden poem\", in which he describes her as a \"locked garden\"(usually taken to mean that she is chaste). The woman invites the man to enterthe garden and taste the fruits. The man accepts the invitation, and a thirdparty tells them to eat, drink, \"and be drunk with love\".[11] Thewoman tells the daughters of Jerusalem of another dream. She was in her chamberwhen her lover knocked. She was slow to open, and when she did, he was gone.She searched through the streets again, but this time she failed to find himand the watchmen, who had helped her before, now beat her. She asks thedaughters of Jerusalem to help her find him, and describes his physical goodlooks. Eventually, she admits her lover is in his garden, safe from harm, andcommitted to her as she is to him.[11] The man describes his beloved; the womandescribes a rendezvous they have shared. (The last part is unclear and possiblycorrupted.)[11] The people praise the beauty of the woman. The images are thesame as those used elsewhere in the poem, but with an unusually dense use ofplace-names, e.g., pools of Hebron, gate of Bath-rabbim, tower of Damascus,etc. The man states his intention to enjoy the fruits of the woman\'s garden.The woman invites him to a tryst in the fields. She once more warns thedaughters of Jerusalem against waking love until it is ready. The womancompares love to death and sheol: love is as relentless and jealous as thesetwo, and cannot be quenched by any force. She summons her lover, using thelanguage used before: he should come \"like a gazelle or a young stag uponthe mountain of spices\".[11] Composition The Song offers no clue to itsauthor or to the date, place or circumstances of its composition.[12] Thesuperscription states that it is \"Solomon\'s\", but even if this ismeant to identify the author, it cannot be read as strictly as a similar modernstatement.[13] The most reliable evidence for its date is its language: Aramaicgradually replaced Hebrew after the end of the Babylonian exile in the late 6thcentury BCE, and the evidence of vocabulary, morphology, idiom and syntaxclearly points to a late date, centuries after King Solomon to whom it istraditionally attributed.[14] It has long been recognised that the Song hasparallels with the pastoral idylls of Theocritus, a Greek poet who wrote in thefirst half of the 3rd century BCE;[15] against this, it clearly shows theinfluence of Mesopotamian and Egyptian love-poetry. It appears closer toEgyptian love-poetry from the first half of the 1st millennium than to Greekparallels from the last.[16][17] As a result of these conflicting signs,speculation ranges from the 10th to the 2nd centuries BCE,[12] with thecumulative evidence supporting a later rather than an earlier date.[18] Theunity (or lack thereof) of the Song continues to be debated. Those who see itas an anthology or collection point to the abrupt shifts of scene, speaker,subject matter and mood, and the lack of obvious structure or narrative. Thosewho hold it to be a single poem point out that it has no internal signs ofcomposite origins, and view the repetitions and similarities among its parts asevidence of unity. Some claim to find a conscious artistic design underlyingit, but there is no agreement among them on what this might be. The questiontherefore remains unresolved.[19] The setting in which the poem arose is alsodebated.[20] Some academics posit a ritual origin in the celebration of thesacred marriage of the god Tammuz and the goddess Ishtar. Whether this is so ornot, (most scholars seem to doubt the idea), the poem seems to be rooted insome kind of festive performance.[20] External evidence supports the idea thatthe Song was originally recited by different singers representing the differentcharacters, accompanied by mime.[21] Later interpretation and influence JudaismThe Song was accepted into the Jewish canon of scripture in the 2nd century CE,after a period of controversy in the 1st century. It was accepted as canonicalbecause of its supposed authorship by Solomon and based on an allegoricalreading where the subject-matter was taken to be not sexual desire but God\'slove for Israel.[22] It is one of the overtly mystical Biblical texts for theKabbalah, which gave esoteric interpretation on all the Hebrew Bible. Followingthe dissemination of the Zohar in the 13th century, Jewish mysticism took on ametaphorically anthropomorphic erotic element, and Song of Songs is an exampleof this. In Zoharic Kabbalah, God is represented by a system of ten sephirotemanations, each symbolizing a different attribute of God, comprising both maleand female. The Shechina (indwelling Divine presence) was identified with thefeminine sephira Malchut, the vessel of Kingship. This symbolizes the Jewishpeople, and in the body, the female form, identified with the woman in Song ofSongs. Her beloved was identified with the male sephira Tiferet, the \"HolyOne Blessed be He\", central principle in the beneficent Heavenly flow ofDivine emotion. In the body, this represents the male torso, uniting throughthe sephira Yesod of the male sign of the covenant organ of procreation. Throughbeneficent deeds and Jewish observance, the Jewish people restore cosmicharmony in the Divine realm, healing the exile of the Shechina with God\'stranscendence, revealing the essential Unity of God. This elevation of theWorld is aroused from Above on the Sabbath, a foretaste of the redeemed purposeof Creation. The text thus became a description, depending on the aspect, ofthe creation of the world, the passage of Shabbat, the covenant with Israel,and the coming of the Messianic age. \"Lecha Dodi\", a 16th-centuryliturgical song with strong Kabbalistic symbolism, contains many passages,including its opening two words, taken directly from Song of Songs. In modernJudaism, certain verses from the Song are read on Shabbat eve or at Passover tosymbolize the love between the Jewish People and their God. Solomon B. Freehofwrites of the Song: As revealed in numerous talmudic passages, in the Targumand in the midrash, this biblical book is interpreted as referring to God\'slove for Israel. This interpretation (evidently the one ascribed to the KenesetHagdola in Abot d\'R. Nathan, Schechter, A #1) soon became official. In fact,anyone quoting verses from the Song of Songs giving them the literal meaningwas declared a heretic who had forfeited his portion in Paradise (Tos. Sanh.XII, 10). This symbolic interpretation of the book was, with somere-interpretation, carried over into Christianity and there, too, it becameofficial.[23] The famed first and second century rabbi Akiva ben Joseph (akaRabbi Akiba) forbade the use of the Song of Songs in popular celebrations. Hereportedly said, \"He who sings the Song of Songs in wine taverns, treatingit as if it were a vulgar song, forfeits his share in the world tocome\".[24] However, Rabbi Akiba famously defended the canonicity of theSong of Songs, reportedly saying when the question came up of whether it shouldbe considered a defiling work, \"God foroffer! […] For all of eternity in itsentirety is not as worthy as the day on which Song of Songs was given to Israel,for all the Writings are holy, but Song of Songs is the Holy ofHolies.\"[25] In modern Judaism, the Song is read on the Sabbath during thePassover, which marks the beginning of the grain harvest as well ascommemorating the Exodus from Egypt. Jewish tradition reads it as an allegoryof the relationship between God and Israel.[5] Christianity Christians admittedthe canonicity of the Song of Songs from the beginning, but after Jewishexegetes began to read the Song allegorically, as having to do with God\'s lovefor his people, Christian exegetes followed suit, treating the love that itcelebrates as an analogy for the love between God and the Church.[6] Over thecenturies the emphasis of interpretation shifted, the 11th century adding amoral element and the 12th century understanding the Bride as the Virgin Mary,each new reading absorbing rather than simply replacing earlier ones, so thatthe commentary became ever more complex, with multiple layers of meaning.[26]This approach leads to conclusions not found in the more overtly theologicalbooks of the Bible, which consider the relationship between God and man as oneof inequality.[27] In contrast, reading the Song of Songs as an allegory ofGod\'s love for his Church suggests that the two partners are equals, bound in afreely consented emotional relationship.[27] Feminism In modern times, the poemhas attracted the attention of feminist Biblical critics. The FeministCompanion to the Bible series, edited by Athalya Brenner, has two volumes(1993, 2001) devoted to the Song, the first of which was actually the firstvolume of the whole series. Phyllis Trible had earlier published\"Depatriarchalizing in Biblical Interpretation\" in 1973, offering areading of the Song with a positive representation of sexuality and egalitariangender relations, which was widely discussed, notably (and favourably) inMarvin Pope\'s major commentary for the Anchor Bible. [7]


1930 Palestine SIGNED COPY Book RABAN BEZALEL Erotica DE LUX EDITION Art BIBLE:
$995.00

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