Jewish STEINHARDT Bezalel ART HAGGADAH Judaica FINE PRISTINE Ltd FACSIMILE COPY
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Jewish STEINHARDT Bezalel ART HAGGADAH Judaica FINE PRISTINE Ltd FACSIMILE COPY:
$175.00
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 STEINHARDT HAGGADAH with the CALLIGRAPHY of Franzisca Baruch . The Haggadah was originaly created in 1921 and 1923 - Here for sale is a FINE COPY , Practicaly UNUSED of the FACSIMILE HAGGADAH which was published in 1979 in anexceptionaly LUXURIOUSlimited edition of only 1000 copies . The HEBREW HAGGADAH , Withnumerous ILLUSTRATIONS , With HAND WRITTEN CALLIGRAPHY isindeed one of the most beautiful ART HAGGADOT which were ever created . The descriptions which are hereunder presented were written in relation to the original Haggadah but absolutely applicable to this GIANT LUXURIOUS rare FACSIMILE COPY : \"beautifully illustrated Steinhardt Haggadah, with 20 strikingwoodcutsby Jacob Steinhardt and calligraphic text by Franziska Baruch.“This is one of the most truly distinguished Haggadahs published in modern times, a milestone in Hebrew book production” (Yerushalmi 134). Steinhardt’s dramatic woodcuts show the strong influence of German Expressionism on his work. His experience in the German Army during World War I also had an impact on his work, perhaps most notably in the woodcut of the Four Sons, wherein the Wicked Son is portrayed as a soldier dressed in a Prussian uniform with a spiked helmet. “Steinhardt also chose to illustrate the Haggadah passage concerning the perennial attempt to annihilate the Jews… Steinhardt has focused upon a group of Jews, their faces showing that they are overcome with fear, in flight from some horror they have witnessed” (Yerushalmi 135). Steinhardt closes the Haggadah with a series of ten woodcuts to illustrate the popular Passover song,Had gadya. The beautiful Hebrew characters in the text were drawn by the noted type designer Franziska Baruch and executed by Steinhardt in wood. Issued the same year as a signed limited edition of 250 copies. Yaari 1952. Yudlov 2888\"\" \"Steinhardt\'s Haggadah was published in 1921 by the Ferdinand Ostertag publishing house in Berlin. Its artistic and historical significance rests on the artist\'s synthesis of tradition and artistic modernity. Steinhardt took up elements of the well-known Amsterdam Haggadah of 1695, and artist Franziska Baruch, who designed the Hebrew typeface, drew on the Prague Haggadah of 1526.After publishing the valuable large deluxe edition, Ferdinand Ostertag introduced a compact popular version of the Haggadah in 1923. Although it was better suited for use at the seder table, it only contained the Hebrew text. Like the deluxe edition, it was thus more of an art book than a liturgical work since most German Jews had only a poor command of Hebrew.\" This LUXURIOUS FACSIMILE COPY , One of only 1000 copies was published by \"DVIR\" in 1979. A luxurious illustrated SLIP CASE of paper and cloth.Original cloth HC. Gilt embossed headings. Giant size ( Bigger than the original Haggadah ) 9.5\" x 14\". around 54 unpaged pp on EXTREMELY HEAVY stock. ENGLISH headings and preface . Throughout illustrated . The condition is UNBELIEVEABLE - Was kept by a private collector and is practicaly UNUSED - Pristine . Opened in the firsdt time only for taking pictures for this sale. Perfectly clean and tightly bound - PERFECTION. Slight shelf wear of the slip case.( Please look at scan for actual AS IS images)Book will be sent in a specialprotective rigid sealed package.
AUTHENTICITY : Thisis anORIGINALvintage 1979 facsimile 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 $22 .Haggadah will be sent inside a protective envelope . Handling within 3-5 days after payment. Estimated Int\'l duration around 14 days.
Passover 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 Haggadah1.1 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 Nirtzah2 Authorship3 History4 Illuminated manuscripts5 See also6 Notes7 References8 Bibliography9 External linksPassover Seder according to the Haggadah[edit]Main article:Passover SederKadeish(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 AnyaA bronzematzoplate designed byMaurice Ascalon, inscribed with the opening words ofHa Lachma AnyaThematzotare 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 questionsTheMishnadetails 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 SonsThe 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 bloodTzefardeyah(frogs)—An infestation of frogs sprang up in EgyptKinim(lice)—TheEgyptianswere afflicted byliceArov(wild animals)—An infestation of wild animals (some say flies) sprang up in EgyptDever(pestilence)—A plague killed off the Egyptian livestockSh\'chin(boils)—An epidemic ofboilsafflicted the EgyptiansBarad(hail)—Hail rained from the skyArbeh(locusts)—Locusts swarmed over EgyptChoshech(darkness)—Egypt was covered in darknessMakkat Bechorot(killing of the first-born)—All the first-born sons of the Egyptians were slain by GodWith 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.Rohtzah(ritual washing of hands)[edit]The ritual hand-washing is repeated, this time with all customs including a blessing.Motzi Matzah(blessings over the Matzah)[edit]Two blessings are recited. First one recites the standard blessing before eating bread, which includes the words \"who brings forth\" (motzi in Hebrew).[7]Then one recites the blessing regarding the commandment to eat Matzah. An olive-size piece (some say two) is then eaten while reclining.Maror(bitter herbs)[edit]The blessing for the eating of the maror (bitter herbs) is recited and then it is dipped into thecharosetand eaten.[7]Koreich(sandwich)[edit]The maror (bitter herb) is placed between two small pieces of matzo, similarly to how the contents of a sandwich are placed between two slices of bread, and eaten. This follows the tradition ofHillel, who did the same at his Seder table 2,000 years ago (except that in Hillel\'s day the Paschal sacrifice, matzo, and maror were eaten together.)Shulchan Orech(the meal)[edit]A Seder table settingThe festive meal is eaten. Traditionally it begins with the charred egg on the Seder plate.[8]Tzafun(eating of theafikoman)[edit]Main article:AfikomanTheafikoman, which was hidden earlier in the Seder, is traditionally the last morsel of food eaten by participants in the Seder.Each participant receives an olive-sized portion of matzo to be eaten asafikoman. After the consumption of theafikoman, traditionally, no other food may be eaten for the rest of the night. Additionally, no intoxicating beverages may be consumed, with the exception of the remaining two cups of wine.Bareich(Grace after Meals)[edit]The recital ofBirkat Hamazon.Kos Shlishi(the Third Cup of Wine)The drinking of the Third Cup of Wine.Note: The Third Cup is customarily poured before theGrace after Mealsis recited because the Third Cup also serves as aCup of Blessingassociated with the Grace after Meals on special occasions.Kos shel Eliyahu ha-Navi(cup ofElijahthe Prophet)In many traditions, the front door of the house is opened at this point.Psalms79:6-7 is recited in both Ashkenazi and Sephardi traditions, plusLamentations3:66 among Ashkenazim.Most Ashkenazim have the custom to fill a fifth cup at this point. This relates to a Talmudic discussion that concerns the number of cups that are supposed to be drunk. Given that the four cups are in reference to the four expressions of redemption in Exodus 6:6-7, some rabbis felt that it was important to include a fifth cup for the fifth expression of redemption in Exodus 6:8. All agreed that five cups should be poured but the question as to whether or not the fifth should be drunk, given that the fifth expression of redemption concerned being brought into the Land of Israel, which - by this stage - was no longer possessed of an autonomous Jewish community, remained insoluble. The rabbis determined that the matter should be left until Elijah (in reference to the notion that Elijah\'s arrival would precipitate the coming of the Messiah, at which time all halakhic questions will be resolved) and the fifth cup came to be known as theKos shel Eliyahu(\"Cup of Elijah\"). Over time, people came to relate this cup to the notion that Elijah will visit each home on Seder night as a foreshadowing of his future arrival at the end of the days, when he will come to announce the coming of theJewish Messiah.In the late 1980s, Jewish feminists introduced the idea of placing a \"Cup of Miriam\" filled with water (to represent the well that existed as long asMiriam, Moses\' sister, was alive in the desert) beside the Cup of Elijah. Many liberal Jews now include this ritual at their seders as a symbol of inclusion.[9]Hallel(songs of praise)[edit]The entire order of Hallel which is usually recited in the synagogue on Jewish holidays is also recited at the Seder table, albeit sitting down. The first two psalms,113and114, were recited before the meal. The remaining psalms115-118, are recited at this point.Psalm 136(the Great Hallel) is then recited, followed byNishmat, a portion of the morning service for Shabbat and festivals.There are a number of opinions concerning the paragraphYehalelukhawhich normally follows Hallel, andYishtabakh, which normally followsNishmat. Most Ashkenazim reciteYehalelukhaimmediately following the Hallel proper, i.e. at the end of Psalm 118, except for the concluding words. After Nishmat, they reciteYishtabakhin its entirety. Sephardim recite \'\"Yehalelukhaalone after Nishmat.Afterwards the Fourth Cup of Wine is drunk and a brief Grace for the \"fruit of the vine\" is said.Nirtzah[edit]Main article:Passover songsThe Seder concludes with a prayer that the night\'s service be accepted. A hope for the Messiah is expressed: \"L\'shanah haba\'ahb\'Yerushalayim!-Next year in Jerusalem!\" Jews inIsrael, and especially those inJerusalem, recite instead \"L\'shanah haba\'ah b\'Yerushalayim hab\'nuyah!- Next year in the rebuilt Jerusalem!\"Although the 15 orders of the Seder have been complete, the Haggadah concludes with additional songs which further recount the miracles that occurred on this night in Ancient Egypt as well as throughout history. Some songs express a prayer that theBeit Hamikdashwill soon be rebuilt. The last song to be sung isChad Gadya(\"One Kid Goat\"). This seemingly childish song about different animals and people who attempted to punish others for their crimes and were in turn punished themselves, was interpreted by theVilna Gaonas anallegoryto the retribution God will levy over the enemies of the Jewish people at the end of days.Following the Seder, those who are still awake may recite theSong of Songs, engage in Torah learning, or continue talking about the events of the Exodus until sleep overtakes them.Authorship[edit]According to Jewish tradition, the Haggadah was compiled during theMishnaicandTalmudicperiods, although the exact date is unknown. It could not have been written earlier than the time of RabbiYehudah bar Elaay(circa 170 CE) who is the lasttannato be quoted therein. According to most Talmudic commentariesRavandShmuelargued on the compilation of the Haggadah,[note 1]and hence it had not been completed as of then. Based on a Talmudic statement, it was completed by the time of Rav Nachman (mentioned in Pesachim 116a). There is a dispute, however, to whichRav Nachman, the Talmud was referring: According to some commentators, this wasRav Nachman bar Yaakov[note 2](circa 280 CE), while others maintain this wasRav Nachman bar Yitzchak(360 CE).[note 3]However theMalbim,[10]along with a minority of commentators, believe that Rav and Shmuel were not arguing on its compilation, but rather on its interpretation, and hence was completed before then. According to this explanation; the Haggadah was written during the lifetime ofRabbi Yehudah HaNasi,[note 4]the compiler of the Mishna. The Malbim theorizes that the Haggadah was written by Rav Yehudah HaNasi himself.History[edit]This sectionneeds additional citations forverification.Please helpimprove this articlebyadding citations to reliable sources. Unsourced material may be challenged and removed.(March 2015)(Learn how and when to remove this template message)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 complete manuscript of the Haggadah dates to the 10th century. It is part of a prayer book compiled bySaadia Gaon.The costliness of manuscripts may have suggested at an early time the writing of the ritual for Passover eve in a separate book. This could hardly have been done, however, before the time ofMaimonides(1135-1204), who included the Haggadah in his code of Jewish law, theMishneh Torah.Existing manuscripts do not go back beyond the thirteenth century, the time, probably, when the service for Passover eve was first written separately, since no mention of the fact occurs in earlier writings. 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.[11]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[12][13]and also theSamaritansdeveloped their own Haggadot which they use to the present day.[14]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.[15]Illuminated manuscripts[edit]Rylands Hagaddahpp 19 & 20The earliest Ashkenazi illuminated Haggada is known as the \"Bird\'s Head Haggada\",[16]now in the collection of TheIsrael Museumin Jerusalem.[17]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\'.[18][19]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 associations\".[20]See also[edit]Jewish ceremonial artPassover songsSarajevo HaggadahSzyk HagaddahWashington HaggadahPassage through the Red Sea: A Haggadah Illustration by Jakob SteinhardtFrom Our HoldingsThey barely escaped with their lives – as is revealed in the expression on Moses\' face in this woodcut by Jakob Steinhardt (1887–1968). When the Israelites fled from Egypt, God parted the Red Sea so that they could reach the far shore in safety. The waters closed behind them, drowning their pursuers.Expressionist IllustrationsThe print comes from a Haggadah, the book read at the Passover seder that recounts the exodus from Egypt. Erich Göritz, a textiles manufacturer from Chemnitz, had commissioned it from the artist Jakob Steinhardt. Steinhardt was one of the most important Jewish expressionists and is known primarily for his woodcuts.A Synthesis of Tradition and ModernitySteinhardt\'s Haggadah was published in 1921 by the Ferdinand Ostertag publishing house in Berlin. Its artistic and historical significance rests on the artist\'s synthesis of tradition and artistic modernity. Steinhardt took up elements of the well-known Amsterdam Haggadah of 1695, and artist Franziska Baruch, who designed the Hebrew typeface, drew on the Prague Haggadah of 1526.An Art Book for German JewsAfter publishing the valuable large deluxe edition, Ferdinand Ostertag introduced a compact popular version of the Haggadah in 1923. Although it was better suited for use at the seder table, it only contained the Hebrew text. Like the deluxe edition, it was thus more of an art book than a liturgical work since most German Jews had only a poor command of Hebrew.editionof the beautifully illustrated Steinhardt Haggadah, with 20 strikingwoodcutsby Jacob Steinhardt and calligraphic text by Franziska Baruch.“This is one of the most truly distinguished Haggadahs published in modern times, a milestone in Hebrew book production” (Yerushalmi 134). Steinhardt’s dramatic woodcuts show the strong influence of German Expressionism on his work. His experience in the German Army during World War I also had an impact on his work, perhaps most notably in the woodcut of the Four Sons, wherein the Wicked Son is portrayed as a soldier dressed in a Prussian uniform with a spiked helmet. “Steinhardt also chose to illustrate the Haggadah passage concerning the perennial attempt to annihilate the Jews… Steinhardt has focused upon a group of Jews, their faces showing that they are overcome with fear, in flight from some horror they have witnessed” (Yerushalmi 135). Steinhardt closes the Haggadah with a series of ten woodcuts to illustrate the popular Passover song,Had gadya. The beautiful Hebrew characters in the text were drawn by the noted type designer Franziska Baruch and executed by Steinhardt in wood. Issued the same year as a signed limited edition of 250 copies. Yaari 1952. Yudlov 2888. This copy is from the library of Dr. Leon Kolb, author ofThe Woodcuts of Jakob Steinhardt, with his bookplate. Kolb was a noted book collector, with much of his collection now residing at Hebrew University, the Haifa Music Museum, Stanford University, and Brandeis University (Encyclopedia Judaica). Franziska (Franzisca) Baruch(*21. November1901inHamburg; †3. September1989inJerusalem)[1]war einedeutsch-israelischeKalligrafinund Leben2 Hebräische Schriftgestaltung3 Literatur4 bearbeiten]Baruch studierte zwischen 1919 und 1925 in Berlin an derUnterrichtsanstalt des Preußischen Kunstgewerbemuseums, wo sie die vonErnst Böhmgeleitete Fachklasse für Grafik und Buchkunst besuchte. Daneben belegte sie privat Kurse in Schriftzeichnen bei Else Marcks-Penzig. Sie gestaltete 1926 die Schriften für den Pavillon derDeutschen Liga der freien Wohlfahrtspflegeauf derGeSoLeiin Düsseldorf und war 1928 im Auftrag vonReichskunstwartEdwin Redslobverantwortlich für die typografischen Aspekte der staatlichen Selbstdarstellung auf derPressain Köln.Hebräische Schriftgestaltung[Bearbeiten|Quelltext bearbeiten]Mit der Anfrage zur Gestaltung des Textes einer bibliophilenHaggadamit Holzschnitten desexpressionistischenKünstlersJakob Steinhardt, die 1921 in einer AuFlage von 200 Stück im Verlag Ferdinand Ostertag erschien, begann eine intensive Auseinandersetzung mit historischen hebräischen Schriften. Als 1922 die erste Ausgabe des vonRachelundMark Kunst- und zeichnete Baruch die Schriften für Haupt- und Zwischentitel. Auch für andere Publikationen des zur Zeitschrift gehörenden Rimon-Verlag schuf Baruch kalligrafische Arbeiten.Ein auf der Type der Haggada vonGershom Kohenbasierender hebräischer Schriftentwurf Baruchs wurde von derSchriftgießereiH. Berthold AGunter dem Namen „Stam“ veröffentlicht. Eine dünnere Version dieser Schrift schuf Baruch für den an derHebräischen Universität JerusalemlehrendenOrientalistenLeo A. Mayer. Ein Neuschnitt dieser Schrift wurde später als „Mayer-Baruch“ vonMoritz SpitzersJerusalem Type Foundry angeboten.Um 1927 begann eine fruchtbare Zusammenarbeit mitSalman Schocken. Dieser plante eine Ausgabe der hebräischen ErzählungenSamuel Agnons, wofür er eine geeignete hebräische Druckschrift suchte. Baruch schlug den Neuguss einer Schrift auf der Grundlage einer Type des venezianischen DruckersDaniel Bombergvor. Für die im Juli 1931 erscheinenden ersten vier Bände der Agnon-Ausgabe im neugegründeten Schocken-Verlag kam allerdings eine hebräische Type derOffizin Drugulinin Leipzig zum Einsatz.1933 migrierte Franziska Baruch nachPalästina. Hier kam Baruchs Neufassung der historischen Bomberg-Type als Hausschrift des 1937 von Salman Schocken gegründete und von seinem Sohn Gershom geleitete Verlags Hotsa’at Schocken zum Einsatz. Nach der Übernahme der hebräischen TageszeitungHaaretzdurch die Familie Schocken 1935 wurde Baruch mit der Neugestaltung des Zeitungstitels betreut. Sie war auch für die ArchitektenErich Mendelsohnund Joseph Neufeld tätig, für die sie verschiedene Gebäudeinschriften entwarf. Daneben schuf Baruch Baruch, Israeli, born in Germany, 1901-1898.Francesca Baruch was born in Hamburg, Germany. She studied design and Typography at the Royal School of Art in Hamburg. In the 1920s and 30s, she worked as a book designer. During this time, she designed the \"Stam\" font for a Passover Haggadah illustrated by Jacob Steinhardt. She also designed the \"Meir-Baruch\" font, the logo of \"Haaretz\" newspaper and the \"Shocken-Baruch\" font commissioned by Gershon Schocken.In 1933, Baruch immigrated to Land of Israel and settled in Jerusalem. She designed the logos for the 50 and 100 mil coins, and the lettering for several public buildings, among them the Hadassah Hospital building on Mount Scopus and Hebrew Union College.EducationRoyal School of Art, Hamburg, Germany1918 Lettering with Elsa Marks, HamburgAwards And Prizes1920 First Prize for Christmas plates decorations, Ceramic manufacturer of the Prussian Royal Family
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