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The Tabernacle of Exodus as a Work of Art An Aesthetic of Monotheism

Maurice. Schmidt


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  • Title:
    The Tabernacle of Exodus as a Work of Art An Aesthetic of Monotheism
  • Author: Maurice. Schmidt
  • Description: Title Page; Copyright Page; Dedication; Table of Contents; List of Illustrations; Author's Foreword; Preface; Acknowledgements; Introduction; Part I: The Tabernacle's Creation and it's Vocabulary of Forms; Chapter 1: In the Shadow of the Divine: Monotheism's First Work of Art; A. The Aesthetic in Judaism; B. Tzniut- Hiddeness/Modesty versus Visible Power; C. Orgins, Structures, and Purpose; D. The Tabernacle Structures; E. Entrance Screen of the Outer Court; F. Geometry: The Compass of Divine Navigation; G. Death Cult Eliminated
    H. The Shape of the Holy: the Square, the Square and a Half, and the Double SquareI. The Shape of the Holy: Geometry as the Metaphoroical Bond to Eternity; J. Divine Proportion: The Golden Section Relationships in the Tabernacle; Chapter 2: How Works of Art Work: Convenantal Color, Sacred Forms, and Holy Spaces; A.Mona Lisa; B. BathSheba; C. Architecture: Teacher of the Ancients; D. Measured by Hand; Made by Hand; Chapter 3: The Ascent of the Moral-Spiritual Aesthetic in Civilization; A. The Sublime, the Majestic, the Glorious, and the Holy
    B. Exoskeleton versus Internal Skeleton: A Comparison Between Classical and Non-Classical MusicC. The Primitive versus the Classical; D. Thought and Knowledge; E. The Attributes of Idols: Singularity, Wholeness and Frontality; F. Moses and Aaron, Prophets and Artisans; G. God Speaks Through Art; Chapter 4: When Gods were Equal, Men were Not: Israel as a Classical Civilzation; A. Life in Ancient Israel: The Biblical Vision; B. Conceived In Liberty: The Birthday of Israelite Civilzation; C. Civilization Without an Aristocratic: Ruling Class; D. ""Is not the good also beautiful""-Plato
    E. Art in Ancient CivilzationPart II: The Tabernacle Structure, Vessels and Meaning; Chapter 5: The Shape of the Holy: The Moral Dimension of Geometry; A. Salt: The Crystal Form of Eternity; B. The Tablets of Testimony Place in the Ark of the Covenant; C. Materials Used for the Tablets of Testimony; D. The Moral Dimension of Geometry; E. The Builder's Code; F. Square and Cube: the Father of Forms; G. The Shape of Eternity; I. The Golden Section Rectangle; J. The Expressive Use of Forms; K. The Modern Equivalents of the Ancient Forms; L. Crystalline Formations; M. The Chambered Nautilus
    Chapter 6: The Fleeting Colors of EternityA. Color as Covenant: A Biblical Theory of Color; B. The Covenanatl Colors: Blue, Purple, and Scarlet; C. Entering the Tent:Light and Reflection Inside the Holy Place; D. The Geometry of the Curtains: Their Transmission of Colored Light; E. Color and Light Inside and Outside the Tabernacle; F. Robes: Color as Nobility; Chapter 7: The Seven Branched Lamp: The Menorah of Ancient Israel and It's Covenantal Significance; A. The Menorah: An Example of the Working of an Israelite Aesthetic; B. Mirror Image Fires of Covenant; C. Forms of the Lamp
    D. The Tripod Base
    This book is the first work that establishes the ancient Israelite Tabernacle as a seminal work of art. It brings together the seemingly divergent worlds of biblical symbolism and art history. While all acknowledge that Western art was often inspired by biblical story and poetry, the modern study of art presupposes that Western religious art originates only from Greco-Roman civilizations. This book contains four color photographs.
  • Publication Date: 2009
  • Publisher: Lewiston : The Edwin Mellen Press
  • Format: 1 online resource (366 p.).
  • Identifier: ISBN 0-7734-1191-7
  • Subjects: Architecture and religion; Art and religion; Jewish aesthetics; Tabernacle; Tabernacle; Jewish aesthetics; Art and religion; Architecture and religion; Religion; Philosophy & Religion; Judaism; Electronic books
  • Language: English
  • Source: 01DAL UDM ALMA

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