Images of Cosmology in Jewish and Byzantine Art: Gods Blueprint of Creation (Jewish and Christian Perspectives)

The booklet offers new figurative versions of interchange among Judaism and Christianity. It demonstrates the nexus connecting the account of construction and the Tabernacle utilizing Jewish and Christian texts and inventive photographs from past due antiquity to the overdue heart a long time.

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Fig. 2. Silver Bar Kochba coin (obverse and opposite) 134–135 CE. The Israel Museum Jerusalem. Fig. three. Dura-Europos, Synagogue, the area of interest for the Holy Ark within the middle of the western wall of the synagogue, 245–256. photos of the Temple, Menorah, Binding of Isaac. Fig. four. Christian Topography, moment Parousia. Rome, Bibl. Vat. Gr. 699, fol. 89r. Fig. five. Sarajevo Haggadah, construction from primordial via Days 1–3. Passover Haggadah, fol. 1v. Fig. 6. Sarajevo Haggadah, production of Days 4–6 and the Sabbath. Passover Haggadah, fol. 2r. Fig. 7. Dura-Europos, Synagogue, West Wall, moment sign in. Closed Heavenly Temple. Fig. eight. Dura-Europos, Synagogue, West Wall, moment sign up. Consecration of the Tabernacle. Fig. nine. Dura-Europos, Christian prayer corridor. The baptismal font, dealing with west. Fig. 10. Dura-Europos, Christian prayer corridor, above the baptismal font. Mural of the nice Shepherd and His Flock. Fig. eleven. Dura-Europos, Synagogue, West Wall, best check in. The Exodus from Egypt. Fig. 12. Dura-Europos, Synagogue, West Wall, most sensible sign in. The crossing of the crimson Sea. Fig. thirteen. Dura-Europos, Synagogue, West Wall, moment check in. The spectacular good of the Be’er. Fig. 14. Dura-Europos, Christian prayer corridor. Fresco of the Samaritan lady leaning over the good. Fig. 15. Dura-Europos, Synagogue, West Wall. The Ark of the Covenant in wager Dagan. Fig. sixteen. Sacra Parallela, similar to Philo of Alexandria. Paris, B. N. gr. 923, Sacra Parallela, fol. 310v. xiv record of illustrations Fig. 17. Sacra Parallela, John of Damascus, Cyril of Alexandria, Philo and Josephus. Paris, B. N. gr. 923, Sacra Parallela, fol. 208r. Fig. 18. Sacra Parallela, bust of Josephus Flavious. Paris, B. N. gr. 923, Sacra Parallela, fol. 226v. Fig. 19. Christian Topography, the “long part” of the universe, proven as a field. On its base a plan of the Earth, with its oceans and mountains, and the process the solar. Sin. Gr. 1186, fol. 69r. Fig. 20. Christian Topography, the arched oblong development separated via a horizontal line; the firmament; water above and less than the road. Sin. Gr. 1186, fol. 65v. Fig. 21. Christian Topography, schema of the “long aspect” of the universe; Jesus’ bust within the vaulted higher half. Rome, Bibl. Vat. Gr. 699, fol. 39v. Fig. 22. Christian Topography, schema of the “long facet” of the universe; Jesus’ bust within the vaulted top half. Rome, Bibl. Vat. Gr. 699, fol. 43r. Fig. 23. Christian Topography, the Earth and the Heavens with the firmament. Sin. Gr. 1186, fol. 65r. Fig. 24. Christian Topography, Heavens imaged as a big blue arch over the mountain that represents the Earth; a bar represents the firmament. Sin. Gr. 1186, fol. 68v. Fig. 25. Christian Topography, the sea and the luminaries are joined with the Earth, formed as a trapezoid, and surrounded by way of water. Sin. Gr. 1186, fol. 67r. Fig. 26. Christian Topography, Earth as a rectangle, framed via water, the 4 winds blowing horns; inlets and streams at the dry land; backyard of Eden past the sea. Sin. Gr. 1186, fol. 66v. Fig. 27. Christian Topography’s Constantine of Antioch’s imaging of the “delineation of the Ark of Propitiation. ” Rome, Bibl. Vat.

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