Jewish symbols reflect the interaction of word and image within Jewish culture. Jews have always studied, interpreted, and revered sacred texts; they have also adorned the settings and occasions of sacred acts. Calligraphy and ornamentation have transformed Hebrew letters into art; quotation, interpretation, legend, and wordplay have made ceremonial objects into narrative. This book represents just such a collaboration between art and language. Ellen Frankel and Betsy Platkin Teutsch, writer and artist, have brought their extensive knowledge and talents together to create The Encyclopedia of Jewish Symbols, the first reference guide of its kind, designed for use by educators, artists, rabbis, folklorists, feminists, Jewish and non-Jewish scholars, and lay readers.

Explains the history and significance of many Jewish symbols, such as the Shield of David, the menorah, and the mezuza, and discusses holiday symbols and rituals.

Every year before the holiday of Sukkot, Jews all around the world purchase an etrog—a lemon-like fruit—to participate in the holiday ritual. In this book, David Z. Moster tracks the etrog from its evolutionary home in Yunnan, China, to the lands of India, Iran, and finally Israel, where it became integral to the Jewish celebration of Sukkot during the Second Temple period. Moster explains what Sukkot was like before and after the arrival of the etrog, and why the etrog’s identification as the “choice tree fruit” of Leviticus 23:40 was by no means predetermined. He also demonstrates that once the fruit became associated with the holiday of Sukkot, it began to appear everywhere in Jewish art during the Roman and Byzantine periods, and eventually became a symbol for all the fruits of the land, and perhaps even the Jewish people as a whole.

The art of the three Abrahamic religions—Christianity, Judaism, and Islam—has a tangled, interwoven history. Symbols cross back and forth among the three faiths, adapted to reflect that faith's specific spiritual needs. And much of this symbolic language predates any of the Abrahamic faiths entirely.In Our Sacred Signs, Ori Soltes traces the interconnectedness of religious symbols such as the Star of David, which isn't, it turns out, exclusive to Judaism at all. He shows that the various ways that Jesus is portrayed on the cross recall an artistic tradition that is in no way unique to Christianity. And he shows that religious architectural conventions as simple as the dome represent early “pagan” traditions.The narrative—essentially a series of overlapping stories—moves through the halls of museums and off to the holy sites of the three religions, tracing the millennia-long artistic trail that has endured even as the West moved toward secularization in the last three hundred years.Soltes shows us how art has long been used as an instrument to take us where words cannot follow. Our Sacred Signs is a breathtaking and revelatory journey through human history, its gods, and its art.

"In most cases references to God are in gender-neutral language. The Tetragammaton, the unpronounceable four-letter name for the Divine, appears in this translation in unvocalized Hebrew to convey that the Name is something totally "other" - beyond translation, gender, speech, and understanding. In some instances, however, male imagery depicting God is preserved because it reflects biblical society's view of gender roles."--BOOK JACKET.

This multicultural reference work on Jewish folklore, legends, customs, and other elements of folklife is the first of its kind.

Designed to bring the wisdom of centuries to a wide audience, this illustrated Hebrew Bible includes 40 selections from the Torah and 35 from Prophets and Writings.