INTRODUCTION TO THE ART OF ERETZ-ISRAEL
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1 Syllabus INTRODUCTION TO THE ART OF ERETZ-ISRAEL Last update HU Credits: 4 Degree/Cycle: 1st degree (Bachelor) Responsible Department: Department of Art History Academic year: 2 Semester: Yearly Teaching Languages: Hebrew Campus: Mt. Scopus Course/Module Coordinator: Dr. Lily Arad Coordinator mslili@mscc.huji.ac.il Coordinator Office Hours: Mondays Tuesdays by appointment Teaching Staff: page 1 / 6
2 Dr. Lily Arad Course/Module description: How does the troubled history of the Land of Israel influence the artwork of a variety of cultures that developed and are presently developing in this region? How do local visual languages deal with contemporary questions on place, collective memory, personal experience, national, religious, ethnic, cultural and gender identities? What are the reasons and aims of the use of quotations of local and foreign visual traditions, appropriation, denial and selective forgetting, transformations, manipulations and reinterpretations? Particular attention will be paid to the perception of the Land of Israel as the Holy Land and of Jerusalem as an earthly and heavenly city in Judaism, Christianity and Islam. This perception, which shaped societies across time, nurtures also our life today. Our purpose is to encourage a challenging debate about the unique and dynamic art of this land. Course/Module aims: The programme is designed to provide stimulating discussions on transcultural artwork of the Land of Israel across time. It aims to develop skills of critical observation of images and reading of texts, analytical and original thinking. A central aim is to stimulate small-group learning, exchange of ideas, and testing of interdisciplinary methods of work. Learning outcomes - On successful completion of this module, students should be able to: Students will be able to identify and relate a representative selection of works to the historical, cultural and artistic contexts in which they were created. They will acquire skills of visual analysis and critical reading of a variety of sources; creative thinking and well-based argumentation, and writing within a historical, political, social and cultural context. Attendance requirements(%): 80 Teaching arrangement and method of instruction: Discussion of images and artefacts from different times, places and cultures in the Land of Israel/ Holy Land/ Israel/ Palestine. page 2 / 6
3 Subject matter and strategies of learning are offered in power -point presentations at the classroom, a site in Moodle, and a dynamic forum. Visit to museums and/or galleries, and study-trips to art-historical sites are planned to develop discussion of artworks in situ. Homework involves the search of visual images, and reading. Course/Module Content: Contemporary Israeli and Palestine Art, or Ancient Art? Long-lived visual motifs and their meanings through time. Canaanite, Israeli and Philistine artwork in modern Israeli art. Cultural encounters, centres and peripheries. Between East and West: visual culture in the Greco-Roman period. The creation of the Holy City of Jerusalem. Art within context: Pagans, Jews and Christians in Palestine. Early synagogues and churches: Art as a religious and political instrument in times of conflict. The art of the Holy Places and pilgrimage art. The Holy Land beyond its borders. The encounter between Islam, Christianity and Judaism: interdisciplinary approaches. The discourse between the Umayyad monuments on the Temple Mount/ Noble Sanctuary and the Holy Sepulchre. The Umayyad Noble Sanctuary: eclecticism and innovation. Western, local-christian and Muslim traditions in Crusader Art. Appropriation and manipulation in Crusader and Late Muslim Art. The Temple/ Dome of the Rock/ Templum Domini in Muslim, Christian, and Jewish Art. Europe in Jerusalem: Orientalism, imperialism, and Christian zeal. Art and memory: a search for identity in the crystalizing Jewish homeland. The political use of art and architecture in Israel/Palestine in the 20th and the 21th centuries. Contemporary Israeli and Palestinian Art: Broken myths and conflicting identities. Required Reading: 1. *גרשט, ר', "אימפריאלי, לוקאלי, ופרובינציאלי הגדרתם וביטוים בפיסול הרומי שנתגלה בארץ- ישראל", מכמנים.71-61,2002,16 2. *טלגם, ר', "פסיפסי ארץ-ישראל לאור תגליות השנים האחרונות", קדמוניות, (116), 2 תשנ"ט, *פטריך, י', "כנסיית הקבר: תולדותיה ומרכיביה הארכיטקטוניים", י' צפריר, ש' ספראי, עורכים, page 3 / 6
4 ספר ירושלים: התקופה הרומית והביזאנטית -638, 70 ירושלים, , 4. *טלגם, ר', "גלגל המזלות, בין פאגניזם לנצרות", בתוך the Follow",.eds,.al et Weiss Z. Wise": Studies in Jewish History and Culture in Honor of Lee I. Levine, New York, 2010, *קוחנל, ב', "אמנות צלבנית בירושלים", י' פראוור, ח' בן-שמאי, עורכים, ספר ירושלים: התקופה הצלבנית והאיובית 1250, ירושלים, תשנ"א, *רוזן-אילון, מ', "אמנות הבנייה בירושלים בתקופה המוסלמית הקדומה", י' פראוור, עורך, ספר ירושלים התקופה המוסלמית הקדומה -1099, 638 ירושלים, תשמ"ז, *Talgam, R., ''Similarities and Differences between Synagogue and Church Mosaics in Palestine during the Byzantine and Umayyad Periods'', L.I.Levine, Z.Weiss, eds., From Dura to Sepphoris: Studies in Jewish Art and Society in Late Antiquity, Portsmouth, 2000, *Weiss, Z., Between Rome and Byzantium: pagan motifs in synagogue art and their place in the Judaeo-Christian controversy, in L. I. Levine, D.R. Schwartz, eds., Jewish Identities in Antiquity: Studies in Memory of Menahem Stern, Tbingen, 2009, *Weitzmann, K., Loca Sancta and the Representational Arts of Palestine, Dumbarton Oaks Papers 28, 1974, *צלמונה, י', ת' מנור פרידמן, עורכים, קדימה: המזרח באמנות ישראל, ירושלים, , 11. *קרויאנקר, ד', "אוריינטלי יותר מהמזרח: גלגוליה של שפת הציטוטים הירושלמית", זמנים, 96, סתיו *קרויאנקר, ד', "הזהויות האתניותאדריכליות בבנייה בירושלים מחוץ לחומות", י' ברטל, עורך, העגלה המלאה מאה ועשרים שנות תרבות בישראל, ירושלים, , *אמנות עכשווית: מבחר קטעי קריאה במאגר Additional Reading Material: מן הפרה-היסטוריה עד למאה ה- 19 לסה'נ בתי כנסת קדומים מכמנים , וייס, ז', א' נצר, הבטחה וגאולה, פסיפס בית-הכנסת מציפורי, ירושלים, תשנ"ו. טלגם, ר', ז' וייס, "'חיי דיוניסיוס' ברצפת הפסיפס של ציפורי", קדמוניות, (84-83), 4-3 תשמ"ט, נצר, א', ארמונות החשמונאים והורדוס הגדול, ירושלים, תש"ס, רוזנברג, ס', עורכת, אבירים מארץ הקודש, ירושלים, Folda,.J., The Art of the Crusaders in the Holy Land , Cambridge, Grabar, O., B.Z. Kedar, eds., Where Heaven and Earth Meet: Jerusalems Sacred page 4 / 6
5 Esplanade, Jerusalem-Austin, Hachlili, R., Ancient Mosaic Pavements: Iconographic Themes, Issues and Trends, Leiden-Boston, Israeli, Y., D.Mevorach, eds., Cradle of Christianity, Jerusalem, 2000 (also in Hebrew). Khnel, B., The Synagogue Floor Mosaic in Sepphoris: Between Paganism and Christianity, in L.I.Levine and Z.Weiss, eds., From Dura to Sepphoris: Studies in Jewish Art and Society in Late Antiquity, Portsmouth, 2000, Khnel, B., Crusader Art of the Twelfth Century: A Geographical, an Historical, or an Art-Historical Notion?, Berlin, Khnel, G., Wall Painting in the Latin Kingdom of Jerusalem, Berlin, Leibner, U., S.Miller, A figural mosaic in the synagogue at Khirbet Wadi Hamam, Journal of Roman Archaeology 23, 2010, McKenzie, J., The Development of Nabatean Sculpture at Petra and Khirbet Tannur, Palestine Exploration Fund, 120, 1988, Piccirillo, M., The Mosaics of Jordan, Amman, Piccirillo. M., E.Alliata, eds., The Madaba Map Centenary , Jerusalem, Rosen-Ayalon, M., Islamic Art and Archaeology of Palestine, Left Coast Press, Schein, S, "Between Mount Moriah and the Holy Sepulchre: The Changing Traditions of the Temple Mount in the Central Middle Ages", Traditio 40, 1984, Weitzmann, Kurt, Loca Sancta and the Representational Arts of Palestine, Dumbarton Oaks Papers 28, 1974, מן המאה ה- 19 למאה ה- 21 אדריכלות ישראלית (AI) (כתב עת) אלחנני, א', המאבק לעצמאות של האדריכלות הישראלית במאה ה- 20, תל-אביב, ארד, ל' "'בחסד האל ובזכות היסטורית' קיסר גרמניה כפטרונה של ירושלים נוצרית", י' כהן, עורך, תמונה וצליל: אמנות, מוסיקה, היסטוריה, ירושלים, , בלס, ג', א', אוצרות, ריאליזם חברתי בשנות ה- 50, אמנות פוליטית בשנות ה- 90, מוזיאון חיפה החדש, בן-צבי, ט', "שפת אם", י' נזרי, עורך, חזות מזרחית/שפת אם, הווה הנע בסבך עברו הערבי, הוצאת בבל, גילעת, י', "'איפה הייתן ומה עשיתן?': השיח המגדרי באמנות וביקורת האמנות בראשית שנות התשעים", ישראל ,2006,9 גילעת, י', "דור שנות ה- 80 באמנות בישראל", כתב העת אקדמי רב תחומי-אורנים , 2, גינתון, א', עורכת, העיניים של המדינה: אמנות חזותית במדינה ללא גבולות, תל אביב, ונטורה, ג', "'שקר החן והבל היופי': אורנמנטיקה חתרנית ב'ציורי השטיחים' של אסד עזי", היחידה להיסטוריה ותיאוריה, בצלאל 3: הלם היפה, כרמי-מלמד, ע', "הקו, המעגל והקונפליקט", אדריכלות ישראלית 14, דצמבר , מנור, ד, "ארוטיקה, אקזוטיקה והנשיות ה'טבעית' - דמות האשה המזרחית ביצירתו של ראובן רובין", מותר ,1997,5 עפרת, ג', שיבת ציון: מעבר לעקרון-המקום, תל אביב: זמן לאמנות, צלמונה, י', 100 שנות אמנות ישראלית, ירושלים, שפרבר, ד', ד' ליס, אוצרים, מתרוניתא: אמנות יהודית פמיניסטית, המשכן לאמנות ע"ש חיים אתר, עין- חרוד, page 5 / 6
6 Powered by TCPDF ( Ankori, G., Palestinian Art, London, 2006 Arad, L., The Crown of Jerusalem Franz Josephs Dream of an Ideal Empire, Jerusalem, 2012, 67-83, Aronson, S., Making Peace with the Land: Designing Israels Landscape, Washington DC, Kroyanker, D., Jerusalem Architecture, Jerusalem, 2002 (rev. ed.) Nitzan-Shiftan, A., Frontier Jerusalem: The Holy Land as a Testing Ground for Urban Design, The Journal of Architecture 16: 6, 2011, Said, E., Orientalism, New York, 1994 or 1979 (with new introduction by the author), Introduction. Course/Module evaluation: End of year written/oral examination 30 % Presentation 0 % Participation in Tutorials 10 % Project work 0 % Assignments 0 % Reports 0 % Research project 0 % Quizzes 0 % Other 60 % Additional information: Requirements: 1. Active participation in class and study trips (10 %). 2. Exam based on identification and brief analysis of visual objects within context (30%). Approval is essential in order to obtain credits. 3. Paper properly referenced according to academic standards (60%). Two-day study trip to Galilee and Golan; visit to the Temple Mount, selected monuments in the Muslim quarter, and the Holy Sepulchre; visit to the Augusta Victoria compound; visit to a museum or gallery. page 6 / 6
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