By J. Cheryl Exum, Ela Nutu
Can a portray or representation of a biblical scene support readers comprehend the Bible? Conversely, to what volume can wisdom a couple of biblical tale aid audience have fun with an artist's portrayal of it? reading biblical artwork is greater than a question of asking even if an artist 'got it correct' or 'got it wrong'. This vigorous selection of essays seeks to set up a discussion among the Bible and paintings that sees the biblical textual content and inventive representations of it as equivalent dialog companions. by way of texts and canvases from varied angles, the 9 members to the amount display how biblical interpretation can shed very important gentle on artwork, how artwork can give a contribution considerably to biblical interpretation and the way every one has anything distinct to provide to the interpretative job. Contributions contain J. Cheryl Exum on Solomon de Bray's Jael, Deborah and Barak, Hugh S. Pyper on depictions of the connection among David and Jonathan, Martin O'Kane at the biblical Elijah and his visible afterlives, Christina Bucher at the tune of Songs and the enclosed backyard motif in fifteenth-century work and engravings of Mary and the baby Jesus, Ela Nutu on transformations within the approach male and female artists have represented Judith, Christine E. Joynes on visualizations of Salome's dance, Heidi J. Hornik on Michele Tosini's Nativity, approach to Calvary and Crucifixion as visible narratives, Kelly J. Baker on Henry Ossawa Tanner's The Annunciation and Nicodemus, and Christopher Rowland on William Blake and the recent testomony.
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30); see Niditch, ‘Eroticism and Death’, pp. 43-49. 31. Judith van Gent and Gabriël M. C. Pastoor, ‘Die Zeit der Richter’, in Im Lichte Rembrandts: Das Alte Testament im Goldenen Zeitalter der niederländischen Kunst (ed. ), pp. 66-67. 32. Judith with the Head of Holofernes, like Jael, Deborah and Barak, is an after-thefact portrayal, so to speak. Judith appears without her sword, the counterpart to Jael’s domestic tools as weapons, which somewhat lessens her threatening aspect. She looks calmly and piously to heaven, and the grisly head appears almost out of place; indeed a later owner had the head altered into a pitcher.
410-31. ’, in Judges and Method: New Approaches in Biblical Studies (ed. Gale A. Yee; Minneapolis: Fortress Press, 1995), pp. 65-90. —Fragmented Women: Feminist (Sub)versions of Biblical Narratives (Valley Forge, PA: Trinity Press International; Sheffield: Sheffield Academic Press, 1993). —Plotted, Shot, and Painted: Cultural Representations of Biblical Women (Sheffield: Sheffield Academic Press, 1996). —Tragedy and Biblical Narrative: Arrows of the Almighty (Cambridge: Cambridge University Press, 1992).
Perhaps the reader is to understand that it was twenty years before the Israelites ‘cried out to Yahweh’, and only then did God inspire Deborah to act. 40. Another comparison with the prophet Samuel can serve to illustrate this point. In 1 Sam. 8-15 Saul waits for Samuel at Gilgal for seven days, as instructed, and then, because circumstances are desperate, makes a burnt offering. Samuel then appears and accuses Saul of not keeping the commandment of God. But in 1 Sam. 8 the instructions to go to Gilgal and wait for Samuel are Samuel’s, not God’s; see, further, J.