1921 Original BUDKO BEZALEL Jewish ART HAGGADAH Judaica HEBREW Passover WOODCUTS

1921-Original-BUDKO-BEZALEL-Jewish-ART-HAGGADAH-Judaica-HEBREW-Passover-WOODCUTS-01-voih
1921 Original BUDKO BEZALEL Jewish ART HAGGADAH Judaica HEBREW Passover WOODCUTS
1921 Original BUDKO BEZALEL Jewish ART HAGGADAH Judaica HEBREW Passover WOODCUTS
1921 Original BUDKO BEZALEL Jewish ART HAGGADAH Judaica HEBREW Passover WOODCUTS
1921 Original BUDKO BEZALEL Jewish ART HAGGADAH Judaica HEBREW Passover WOODCUTS
1921 Original BUDKO BEZALEL Jewish ART HAGGADAH Judaica HEBREW Passover WOODCUTS
1921 Original BUDKO BEZALEL Jewish ART HAGGADAH Judaica HEBREW Passover WOODCUTS
1921 Original BUDKO BEZALEL Jewish ART HAGGADAH Judaica HEBREW Passover WOODCUTS
1921 Original BUDKO BEZALEL Jewish ART HAGGADAH Judaica HEBREW Passover WOODCUTS
1921 Original BUDKO BEZALEL Jewish ART HAGGADAH Judaica HEBREW Passover WOODCUTS
1921 Original BUDKO BEZALEL Jewish ART HAGGADAH Judaica HEBREW Passover WOODCUTS
1921 Original BUDKO BEZALEL Jewish ART HAGGADAH Judaica HEBREW Passover WOODCUTS
1921 Original BUDKO BEZALEL Jewish ART HAGGADAH Judaica HEBREW Passover WOODCUTS

1921 Original BUDKO BEZALEL Jewish ART HAGGADAH Judaica HEBREW Passover WOODCUTS
It’s the JOSEPH BUDKO of BEZALEL illustrated ART HAGGADAH. The Haggadah was published in 1921 (First Edition) by Levit WEIEN – BERLIN. 100 copies of this Haggadah were numbered and leather bound. For sale is a regular copy. The HAGGADAH is throughout illustrated by BUDKO : Illustrations , Miniatures, Vignettes and decorations. Original LUXURIOUS illustrated CLOTH HC. Gilt & Embosses ILLUSTRATED and DECORATED headings. 42 pp on high quality paper. The condition is quite good but with a few imperfections. Was definitely used on Sedder nights. Wine stains on some pages. Stronger wine stains on 6 pages. Please look at scan for actual AS IS. Book will be sent in a special protective rigid sealed package. AUTHENTICITY : This is an ORIGINAL 1921 Haggadah , NOT a reproduction or a recent reprint , It holds a life long GUARANTEE for its AUTHENTICITY and ORIGINALITY. Haggadah will be sent inside a protective envelope. Estimated Int’l duration around 14 days. One of the most ancient parts is the recital of the “Hallel, ” which, according to the Mishnah Pes. 7, was sung at the sacrifice in the Temple in Jerusalem, and of which, according to the school of Shammai, only the first chapter shall be recited. After the Psalms a benediction for the Redemption is to be said. This benediction, according to R. Tarfon, runs as follows: Praised art Thou, O Lord, King of the Universe, who hast redeemed us, and hast redeemed our fathers from Egypt. ” Another part of the oldest ritual, as is recorded in the Mishnah, is the conclusion of the “Hallel up to Ps. , and the closing benediction of the hymn “Birkat ha-Shir, ” which latter the Amoraim explain differently Pes. 116a, but which evidently was similar to the benediction thanking God, “who loves the songs of praise, ” used in the present ritual. These benedictions, and the narrations of Israel’s history in Egypt, based on Deut. 5-9 and on Josh. 2-4, with some introductory remarks, were added in the time of the early Amoraim, in the third century CE. In post-Talmudic times, during the era of the Geonim, selections from midrashim were added; most likely Rabbi Amram Gaon c. 850 was the originator of the present collection, as he was the redactor of the daily liturgy in the siddur. Of these midrashim one of the most important is that of the four children, representing four different attitudes towards why Jews should observe Passover. This division is taken from the Jerusalem Talmud Pes. 34b and from a parallel passage in Mekilta; it is slightly altered in the present ritual. Other rabbinic quotes from the aggadahliterature are added, as the story of R. Eliezer, who discussed the Exodus all night with four other rabbis, which tale is found in an altogether different form in the Tosefta. The oldest surviving complete manuscript of the Haggadah dates to the 10th century. It is part of a prayer book compiled by Saadia Gaon. It is now believed that the Haggadah first became produced as an independent book in codex form around 1,000. Existing manuscripts do not go back beyond the thirteenth century. When such a volume was compiled, it became customary to add poetical pieces. The earliest known Haggadot produced as works in their own right are manuscripts from the 13th and 14th centuries, such as “The Golden Haggadah” probably Barcelona c. 1320 and the “Sarajevo Haggadah” (late fourteenth century). It is believed that the first printed Haggadot were produced in 1482, in Guadalajara, Spain; however this is mostly conjecture, as there is no printer’s colophon. The oldest confirmed printed Haggadah was printed in Soncino, Lombardy in 1486 by the Soncino family. Although the Jewish printing community was quick to adopt the printing press as a means of producing texts, the general adoption rate of printed Haggadot was slow. By the end of the sixteenth century, only twenty-five editions had been printed. This number increased to thirty-seven during the seventeenth century, and 234 during the eighteenth century. It is not until the nineteenth century, when 1,269 separate editions were produced, that a significant shift is seen toward printed Haggadot as opposed to manuscripts. From 19001960 alone, over 1,100 Haggadot were printed. [12] While the main portions of the text of the Haggadah have remained mostly the same since their original compilation, there have been some additions after the last part of the text. Some of these additions, such as the cumulative songs “One little goat” (” “) and Who Knows One? ” (“), which were added sometime in the fifteenth century, gained such acceptance that they became a standard to print at the back of the Haggadah. The text of the Haggadah was never fixed in one, final form, as no rabbinic body existed which had authority over such matters. Instead, each local community developed its own text. A variety of traditional texts took on a standardized form by the end of the medieval era on the Ashkenazi (Eastern European), Sephardic (Spanish-Portuguese) and Mizrahi (Jews of North Africa and the Middle east) community. The Karaites[13][14] and also the Samaritans developed their own Haggadot which they use to the present day. [15] During the era of the Enlightenment the European Jewish community developed into groups which reacted in different ways. Orthodox Judaism accepted certain fixed texts as authoritative and normative, and prohibited any changes to the text. Modern Orthodox Judaism and Conservative Judaism allowed for minor additions and deletions to the text, in accord with the same historical-legal parameters as occurred in previous generations. Rabbis within the Conservative Judaism, studying the liturgical history of the Haggadah and Siddur, conclude that there is a traditional dynamic of innovation, within a framework conserving the tradition. While innovations became less common in the last few centuries due to the introduction of the printing press and various social factors, Conservative Jews take pride in their community’s resumption of the traditional of liturgical creativity within a halakhic framework. [citation needed] Reform Judaism holds that there are no normative texts, and allowed individuals to create their own haggadahs. Reform Jews take pride in their community’s resumption of liturgical creativity outside a halakhic framework;[citation needed] although the significant differences they introduced make their texts incompatible with Jews who wish to follow a seder according to Jewish tradition. It is not uncommon, particularly in America, for haggadot to be produced by corporate entities, serving as texts for the celebration of Passover, but also as marketing tools and ways of showing that certain foods are kosher. [16] Illuminated manuscripts[edit] Rylands Hagaddah pp 19 & 20 The earliest Ashkenazi illuminated Haggada is known as the “Bird’s Head Haggada”, [17] now in the collection of The Israel Museum in Jerusalem. [18] The Rylands Haggadah Rylands Hebrew MS. 6 is one of the finest Haggadot in the world. It was written and illuminated in Catalonia in the 14th century and is an example of the cross-fertilisation between Jewish and non-Jewish artists within the medium of manuscript illumination. In spring and summer 2012 it was exhibited at the Metropolitan Museum of Art, New York, in the exhibition’The Rylands Haggadah: Medieval Jewish Art in Context’. [19][20] The British Library’s 14th century Barcelona Haggadah BL Add. MS 14761 is one of the most richly pictorial of all Jewish texts. Meant to accompany the Passover eve service and festive meal, it was also a status symbol for its owner in 14th-century Spain. Nearly all its folios are filled with miniatures depicting Passover rituals, Biblical and Midrashic episodes, and symbolic foods. A facsimile edition was published by Facsimile Editions of London in 1992. Published in 1526, the Prague Haggadah is known for its attention to detail in lettering and introducing many of the themes still found in modern texts. Although illustrations had often been a part of the Haggadah, it was not until the Prague Haggadah that they were used extensively in a printed text. The Haggadah features over sixty woodcut illustrations picturing scenes and symbols of the Passover ritual;… Biblical and rabbinic elements that actually appear in the Haggadah text; and scenes and figures from biblical or other sources that play no role in the Haggadah itself, but have either past or future redemptive associations. [21] The Haggadah (Hebrew: , “telling”; plural: Haggadot) is a Jewish text that sets forth the order of the Passover Seder. Reading the Haggadah at the Seder table is a fulfillment of the Scriptural commandment to each Jew to “tell your son” of the Jewish liberation from slavery in Egypt as described in the Book of Exodus in the Torah And thou shalt tell thy son in that day, saying: It is because of that which the LORD did for me when I came forth out of Egypt. Sephardi and Mizrahi Jews also apply the term Haggadah to the service itself, as it constitutes the act of telling your son. Contents [hide] 1 Passover Seder according to the Haggadah 1.1 Kadeish (blessings and the first cup of wine) 1.2 Ur’chatz (wash hands) 1.3 Karpas (appetizer) 1.4 Yachatz (breaking of the middle matzah) 1.5 Magid (relating the Exodus) 1.6 Rohtzah (ritual washing of hands) 1.7 Motzi Matzah (blessings over the Matzah) 1.8 Maror (bitter herbs) 1.9 Koreich (sandwich) 1.10 Shulchan Orech (the meal) 1.11 Tzafun (eating of the afikoman) 1.12 Bareich (Grace after Meals) 1.13 Hallel (songs of praise) 1.14 Nirtzah 2 Authorship 3 History 4 Illuminated manuscripts 5 See also 6 Notes 7 References 8 Bibliography 9 External links Passover Seder according to the Haggadah[edit] Main article: Passover Seder Kadeish (blessings and the first cup of wine)[edit] Kadeish is Hebrew Imperative for Kiddush. This Kiddush is similar to that which is recited on all of the pilgrimage festivals, but also refers to matzot and the exodus from Egypt. Acting in a way that shows freedom and majesty, many Jews have the custom of filling each other’s cups at the Seder table. The Kiddush is traditionally said by the father of the house, but all Seder participants participate by reciting the Kiddush and drinking at least a majority of a cup of wine. Ur’chatz (wash hands)[edit] Technically, according to Jewish law, whenever one partakes of fruits or vegetables dipped in liquid while remaining wet, one must wash one’s hands, if the fruit or vegetable remains wet. However, other times of the year either one has already washed one’s hands before eating bread, or dry the fruit or vegetable, in which case, one need not wash one’s hands before eating the fruit or vegetable. According to most traditions, no blessing is recited at this point in the Seder, unlike the blessing recited over the washing of the hands before eating bread. However, followers of Rambam or the Gaon of Vilna do recite a blessing. Karpas (appetizer)[edit] Each participant dips a vegetable into either salt water (Ashkenazi custom; said to serve as a reminder of the tears shed by their enslaved ancestors), vinegar(Sephardi custom) or charoset (older Sephardi custom; still common among Yemenite Jews). Another custom mentioned in some Ashkenazi sources and probably originating with Meir of Rothenburg, [citation needed] was to dip the karpas in wine. Yachatz (breaking of the middle matzah)[edit] Three matzot are stacked on the seder table; at this stage, the middle matzah of the three is broken in half. The larger piece is hidden, to be used later as the afikoman, the “dessert” after the meal. Magid (relating the Exodus)[edit] The story of Passover, and the change from slavery to freedom is told. At this point in the Seder, Moroccan Jews have a custom of raising the Seder plate over the heads of all those present while chanting “Bivhilu yatzanu mimitzrayim, halahma anya b’nei horin” (In haste we went out of Egypt [with our] bread of affliction, [now we are] free people). Ha Lachma Anya (invitation to the Seder) Main article: Ha Lachma Anya A bronze matzo plate designed by Maurice Ascalon, inscribed with the opening words of Ha Lachma Anya The matzot are uncovered, and referred to as the “bread of affliction”. Participants declare (in Aramaic) an invitation to all who are hungry or needy to join in the Seder. Halakha requires that this invitation be repeated in the native language of the country. Mah Nishtanah (The Four Questions) Main article: the four questions The Mishna details questions one is obligated to ask on the night of the seder. It is customary for the youngest child present to recite the four questions. In some families, this means that the requirement remains on an adult “child” until a grandchild of the family receives sufficient Jewish education to take on the responsibility. If a person has no children capable of asking, the responsibility falls to the spouse, or another participant. [2] The need to ask is so great that even if a person is alone at the seder he is obligated to ask himself and to answer his own questions. [2] Ma nishtana ha lyla ha zeh mikkol hallaylot? Why is this night different from all other nights? Shebb’khol hallelot anu okhlin amets umatsa, vehallayla hazze kullo matsa. Why is it that on all other nights during the year we eat either leavened bread or matza, but on this night we eat only matza? Shebb’khol hallelot anu okhlin shar y’rakot, vehallayla hazze maror. Why is it that on all other nights we eat all kinds of vegetables, but on this night we eat bitter herbs? Shebb’khol hallelot en anu matbillin afillu paam eat, vehallayla hazze sh’tei feamim. Why is it that on all other nights we do not dip [our food] even once, but on this night we dip them twice? Shebb’khol hallelot anu okhlin ben yoshvin uven m’subbin, vehallayla hazze kullanu m’subbin. Why is it that on all other nights we dine either sitting upright or reclining, but on this night we all recline? A fifth question which is present in the mishnah has been removed by later authorities due to its inapplicability after the Destruction of the Temple: 5. Shebb’khol hallelot anu okhlin basar tsali shaluk umvushal, vehallayla hazze kullo tsali. Why is it that on all other nights we eat meat either roasted, marinated, or cooked, but on this night it is entirely roasted? The four questions have been translated into over 300 languages. [3] We eat only matzah because our ancestors could not wait for their breads to rise when they were fleeing slavery in Egypt, and so they were flat when they came out of the oven. We eat only Maror, a bitter herb, to remind us of the bitterness of slavery that our ancestors endured while in Egypt. The first dip, green vegetables in salt water, symbolizes the replacing of our tears with gratitude, and the second dip, Maror in Charoses, symbolizes the sweetening of our burden of bitterness and suffering. We recline at the Seder table because in ancient times, a person who reclined at a meal was a free person, while slaves and servants stood. We eat only roasted meat because that is how the Pesach/Passover lamb is prepared during sacrifice in the Temple at Jerusalem. The Four Sons The traditional Haggadah speaks of “four sons”one who is wise, one who is wicked, one who is simple, and one who does not know to ask. This is based upon the rabbis of the Jerusalem Talmud finding four references in the Torah to responding to your son who asks a question. [4] Each of these sons phrases his question about the seder in a different way. The wise son asks What are the statutes, the testimonies, and the laws that God has commanded you to do? One explanation for why this very detailed-oriented question is categorized as wise, is that the wise son is trying to learn how to carry out the seder, rather than asking for someone else’s understanding of its meaning. He is answered fully: You should reply to him with [all] the laws of pesach: one may not eat any dessert after the paschal sacrifice. The wicked son, who asks, What is this service to you? , is characterized by the Haggadah as isolating himself from the Jewish people, standing by objectively and watching their behavior rather than participating. Therefore, he is rebuked by the explanation that It is because God acted for my sake when I left Egypt. This implies that the Seder is not for the wicked son because the wicked son would not have deserved to be freed from Egyptian slavery. Where the four sons are illustrated in the Haggadah, this son has frequently been depicted as carrying weapons or wearing stylish contemporary fashions. The simple son, who asks, What is this? ” is answered with “With a strong hand the Almighty led us out from Egypt, from the house of bondage. ” And the one who does not know to ask is told, “It is because of what the Almighty did for me when I left Egypt. ” Some modern Haggadahs mention “children” instead of “sons, and some have added a fifth child. The fifth child can represent the children of the Shoah who did not survive to ask a question[5] or represent Jews who have drifted so far from Jewish life that they do not participate in a Seder. [6] For the former, tradition is to say that for that child we ask Why? And, like the simple child, we have no answer. “Go and learn” Four verses in Deuteronomy (26:5-8) are then expounded, with an elaborate, traditional commentary. And thou shalt speak and say before the LORD thy God:’A wandering Aramean was my parent, and they went down into Egypt, and sojourned there, few in number; and became there a nation, great, mighty, and populous. And the Egyptians dealt ill with us, and afflicted us, and laid upon us hard bondage. And we cried unto the LORD, the God of our parents, and the LORD heard our voice, and saw our affliction, and our toil, and our oppression. 8 And the LORD brought us forth out of Egypt with a strong hand and an outstretched arm, and with great terribleness, and with signs, and with wonders. The Haggadah explores the meaning of those verses, and embellishes the story. This telling describes the slavery of the Jewish people and their miraculous salvation by God. This culminates in an enumeration of the Ten Plagues: Dam (blood)All the water was changed to blood Tzefardeyah (frogs)An infestation of frogs sprang up in Egypt Kinim (lice)The Egyptians were afflicted by lice Arov (wild animals)An infestation of wild animals (some say flies) sprang up in Egypt Dever (pestilence)A plague killed off the Egyptian livestock Sh’chin (boils)An epidemic of boils afflicted the Egyptians Barad (hail)Hail rained from the sky Arbeh (locusts)Locusts swarmed over Egypt Choshech (darkness)Egypt was covered in darkness Makkat Bechorot (killing of the first-born)All the first-born sons of the Egyptians were slain by God With the recital of the Ten Plagues, each participant removes a drop of wine from his or her cup using a fingertip. Although this night is one of salvation, the sages explain that one cannot be completely joyous when some of God’s creatures had to suffer. A mnemonic acronym for the plagues is also introduced: “D’tzach Adash B’achav”, while similarly spilling a drop of wine for each word. At this part in the Seder, songs of praise are sung, including the song Dayenu, which proclaims that had God performed any single one of the many deeds performed for the Jewish people, it would have been enough to obligate us to give thanks. After this is a declaration (mandated by Rabban Gamliel) of the reasons of the commandments of the Paschal lamb, Matzah, and Maror, with scriptural sources. Then follows a short prayer, and the recital of the first two psalms of Hallel (which will be concluded after the meal). A long blessing is recited, and the second cup of wine is drunk. Juli 1940 in Jerusalem war ein berühmter jüdisch-polnischer Künstler, der überwiegend in Berlin und später in Jerusalem wirkte. 1909 kam er nach Berlin, wo er das Ziselierhandwerk und den Kupferstich erlernte. Ab 1910 studierte er an der Unterrichtsanstalt des Berliner Kunstgewerbemuseums sowie bei Hermann Struck, als dessen Lieblingsschüler Budko galt. Ab Mitte der 1920er Jahre widmete er sich verstärkt auch der Malerei. 1933 emigrierte Joseph Budko nach Palästina, wo er 1934 bis 1940 Direktor der Neuen Kunstgewerbeschule Bezalel School for Arts & Crafts (seit 1969: Bezalel Academy of Arts and Design) in Jerusalem war. Joseph Budko war ein versierter Graphiker, der vor allem mit Radierungen, Kaltnadel-Arbeiten und Holzschnitten hervortrat. Er schuf zahlreiche Illustrationen, u. Die Juden von Bacharach (1921) von Heinrich Heine, Psalmen (1919), Der babylonische Talmud (1924) von Bialik und zu Werken von Schalom Asch, Schmarja Gorelik, David Frischmann, Arno Nadel und Scholem Alejchem sowie hervorragende Exlibris, bei denen er häufig hebräische Schriftzeichen verwendete. Für den Jüdischen Verlag, den Verlag für jüdische Kunst und Kultur Fritz Gurlitt sowie den Verlag Eschkol entwarf Budko Buchumschläge z. Für die Serie Jüdische Bücherei und Signets (etwa für die Neuen Jüdischen Monatshefte). Budko strebte eine von traditioneller jüdischer Symbolik und Gedankengut getragene jüdische Kunst an. In diesem Zusammenhang sind seine Mappenwerke mit eindeutig religiösen Aussagen, z. Haggada schel Pessach (26 Kaltnadel-Arbeiten, 1917), bzw. Einzelgraphiken, besonders die Schabkunst-Blätter wie Der zürnende Moses oder Jeremias tröstet die Mutter Rahel, zu sehen (alle zwischen 1917 und 1930). Einen weiteren Themenbereich Budkos bildet die ihm aus seiner Jugend vertraute Welt der ost-jüdischen Schtetlech sowie das Motiv des Ewigen Juden, den er oft in der Konfrontation eines alten Mannes mit einer jungen Frau darstellt. Nach 1933 beschäftigte er sich in seiner Kunst auch mit israelischen Landschaften. Born in Poland, Budko studied art in Germany under the instruction of Hermann Struck and the influence of Jacob Steinhardt. Mixing his personal attitude with Jewish outlook; melding Jewish tradition and modern artistic approach, Budko soon developed his own powerful style, influencing future great artists in turnMarc Chagall being no exception. Budko has been credited with resurrecting the spirit of book illustration by elevating it to modern design. Eventually moving to Israel, Joseph Budko became the head of the Betzalal Academy in Palestine when it re-opened in 1935. He remained in this position until his untimely death, in 1940. The item “1921 Original BUDKO BEZALEL Jewish ART HAGGADAH Judaica HEBREW Passover WOODCUTS” is in sale since Friday, July 10, 2020. This item is in the category “Collectibles\Religion & Spirituality\Judaism\Books”. The seller is “judaica-bookstore” and is located in TEL AVIV. This item can be shipped worldwide.
  • Country/Region of Manufacture: Israel

1921 Original BUDKO BEZALEL Jewish ART HAGGADAH Judaica HEBREW Passover WOODCUTS