Imagining the Self, Imagining the Other: Visual Representation and Jewish-Christian Dynamics in the Middle Ages and Early Modern Period (review)

Eva Frojmovic's introductory essay, "Buber in Basle, Schlosser in Sarajevo, Wischnitzer in Weimar: The Politics of Writing about Medieval Jewish Art," focuses on the histonographical treatment of medieval works in the context of recent discussions on the role of political discourse in the characterization of Jewish art.1 A brief review of Martin Buber's ambivalent attitude toward Jewish art opens the chapter: that which had been created in previous centuries demonstrated a lack of Jewish artistic skill; but what would be created in the future Jewish state would be equal to European models. According to Nahmanides, the Sanctuary symbolized the victorious Messiah; its implements herald the final deliverance. According to Weber, "images were read like texts and iconographie differences matter." [...]Thomas Hubka's thesis is stated but unproved.