![]() ![]() 12r, (ca.1300) illuminated manuscript, Israel Museum Courtesy “The Medieval Haggadah” by Marc Michael Epstein. In future reviews, I hope to address his fascinating exploration of these other medieval Haggadot. 1320), the Ryland’s Haggadah (Sephardi ca.1340) and its ‘Brother’ Ryland’s Haggadah (Sephardi ca.1340) – were created at “a crucial historical moment for the development of Jewish visual culture… developed a renewed interest in narrative painting coterminous with the emergence of Christian narrative art.” Here I shall consider only his analysis of the mysterious Bird’s Head Haggadah (Israel Museum, Jerusalem MS 180/57), the earliest illuminated Haggadah we have, because it sets the fundamental tone and context for his research and conclusions. The four – the Bird’s Head Haggadah (Ashkenazi ca. ![]() In The Medieval Haggadah: Art, Narrative & Religious Imagination (2011), Marc Michael Epstein explores four seminal medieval Haggadot as paradigms of the creative relationship between sacred text and the Jewish visual imagination. The next efflorescence of Jewish art was found in illuminated manuscript production in Spain and Germany over 600 years later. The Dura Europos synagogue murals (245 CE) evidenced the first great flowering of Jewish visual creativity, quickly followed by the creation of at least 17 synagogue mosaic floors in Palestine. The Medieval Haggadah: Art, Narrative & Religious Imaginationīy Marc Michael Epstein, Yale University Press, New Haven and London 2011 ![]()
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