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As opposed to the figures from the Jewish world created by the artists of the "Bezalel" school, Samuel's imaged lacked the religious dimension. The images that remained, for the most part looked like images from folklore. The decorative style of Samuel's pottery focused on individual images, drawn primarily freehand and glazed. [19]
Shikhin was a major pottery production centre in Roman Galilee, specialized in jars, flasks [a] and kraters, although it seems that no cooking ware was produced there, unlike in Kefar Hanania, the leading regional production centre during the entire Roman period. [7]
Margarete Heymann (August 10, 1899 – 11 November 1990), also known as Margarete Heymann-Löbenstein, Margarete Heymann-Marks, and Grete Marks, was a German ceramic artist of Jewish origin and a Bauhaus student. In 1923 she founded the Haël Workshops for Artistic Ceramics at Marwitz that she had to close in 1933 and settled in Jerusalem. [1]
The pottery found at the various levels enabled a stratigraphy to be developed for Susa. ... In addition, there was a Jewish community with its own synagogue. The ...
Two pieces of Jewish pottery from 568 BC were found in Tell el-Maschuta, which testify to the presence of Jewish refugees in Tell el-Maschuta around 582 BC. Larger quantities of similar pottery turned up at Tahpanhes , located about 22 km from the mouth of the Pelusian Nile River, and at a site in the western Sinai region tentatively identified ...
Fine, Steven. 2010. "'The Lamps of Israel': The Menorah as a Jewish Symbol." In Art and Judaism in the Greco-Roman World: Toward a New Jewish Archaeology. By Steven Fine, 148–163. New York: Cambridge University Press.--. 2016. The Menorah: From the Bible to Modern Israel. Cambridge, MA: Harvard University Press, 2016. Hachlili, Rachel. 2001.
The exhibition had the same five-section layout as the earlier North American tour, with themes of Jewish holidays, family life, education, burial societies, and the work of those at Terezín. [63] The tour opened at the Prins Eugens Waldemarsudde museum in Stockholm, Sweden, [61] under the name Det judiska Prag [64] (English: Jewish Prague [60 ...
Stone vessels held particular religious significance in Jewish ritual law due to their imperviousness to impurity, contrasting with pottery vessels that could become impure and would need to be discarded or broken. This property likely contributed to their popularity during a period when adherence to purity laws was paramount in Jewish culture.
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