The Image of the Jew in Byzantine Art is the first study of the relationship between the attitude to the Jews in contemporary texts and their corresponding representation in Eastern art. The analysis initially explores the documented antisemitic attitude of the Eastern Church and its pervasive influence on the role of the Byzantine Emperors. However, Dr Revel-Neher's discussion of the many illustrations of contemporary images (most seen in the West for the first time) shows that, unlike the Western art of the period, the Byzantine images aimed at an objective reflection of daily reality and were not subject to the antisemitic doctrines of the Church. The authenticity of the images is the hallmark of the Byzantine attitude to the Jews, in stark contrast to the grotesque and caricatural images in Western iconography.

Does the design of the Tabernacle in the wilderness correspond to God’s blueprint of Creation? The Christian Topography, a sixth-century Byzantine Christian work, presents such a cosmology. Its theory is based on the “pattern” revealed to Moses on Mount Sinai when he was told to build the Tabernacle and its implements “after their pattern, which is being shown thee on the Mount.” (Exod. 25: 40). The book demonstrates, through texts and images, the motifs that link the Tabernacle and Creation. It traces the long chain of transmission that connects the Jewish and Christian traditions from Syria and ancient Israel to France and Spain from the first through the fourteenth century, revealing new models of interaction between Judaism and Christianity.

Byzantine Jews: Dialectics of Minority and Majority Cultures is the collective product of a three year research group convened under the auspices of Scholion: Interdisciplinary Research Center in Jewish Studies at the Hebrew University of Jerusalem. The volume provides both a survey and an analysis of the social and cultural history of Byzantine Jewry from its inception until the fifteenth century, within the wider context of the Byzantine world.

These images, which reached a broad and socially varied audience across Western Europe, appeared in virtually all artistic media, including illuminated manuscripts, stained glass, sculpture, metalwork, and tapestry.".

This magnificent volume explores the epochal transformations and unexpected continuities in the Byzantine Empire from the 7th to the 9th century. At the beginning of the 7th century, the Empire's southern provinces, the vibrant, diverse areas of North Africa and the eastern Mediterranean, were at the crossroads of exchanges reaching from Spain to China. These regions experienced historic upheavals when their Christian and Jewish communities encountered the emerging Islamic world, and by the 9th century, an unprecedented cross- fertilization of cultures had taken place. This extraordinary age is brought vividly to life in insightful contributions by leading international scholars, accompanied by sumptuous illustrations of the period's most notable arts and artifacts. Resplendent images of authority, religion, and trade—embodied in precious metals, brilliant textiles, fine ivories, elaborate mosaics, manuscripts, and icons, many of them never before published— highlight the dynamic dialogue between the rich array of Byzantine styles and the newly forming Islamic aesthetic. With its masterful exploration of two centuries that would shape the emerging medieval world, this illuminating publication provides a unique interpretation of a period that still resonates today.

The essays collected in this volume present a multi-faceted range of scholarship from late antique synagogues, Jewish funerary art, early Christian and Byzantine mosaics, to Byzantine and Jewish book art, and the representation of the Old Testament in Western manuscripts.

Inventing the Jew follows the evolution of stereotypes of Jews from the level of traditional Romanian and other Central-East European cultures (their legends, fairy tales, ballads, carols, anecdotes, superstitions, and iconographic representations) to that of "high" cultures (including literature, essays, journalism, and sociopolitical writings), showing how motifs specific to "folkloric antisemitism" migrated to "intellectual antisemitism." This comparative perspective also highlights how the images of Jews have differed from that of other "strangers" such as Hungarians, Germans, Roma, Turks.