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Karim Aïnouz anda pela região de Cabília, na Argélia, e encontra Karim Aïnouz, um simpático argelino homônimo nascido no mesmo ano do cineasta cearense, 1966. No cemitério de um vilarejo, túmulos com a inscrição do sobrenome — tão incomum aos brasileiros —, estão por todos os lados. Situações como essas foram vividas aos montes pelo […]

Bauhaus und documenta sind zwei global erfolgreiche kulturelle Marken, die für ein weltoffenes, innovatives und modernes Deutschland stehen. Entstanden sind beide vor dem Hintergrund von Zivilisationsbrüchen, und beide stehen exemplarisch für die Idee der emanzipativen Kraft von Kunst und Kultur. Die Parallelbetrachtung zeigt ihre Gemeinsamkeiten und Unterschiede, die sich teils komplementär gegenüberstehen: Hier Massenartikel und alltäglicher Umgang, dort die Begegnung mit einmaligen Kunstwerken; hier die Idee eines Universalismus, dort die Differenzerfahrung; hier die Gestaltung von Konsumgütern, dort die Kritik am kapitalistischen Konsum. Die Publikation behandelt in kritischen Essays sowie ausgewähltem Originalmaterial grundlegende, aber oft übersehene Dimensionen der beiden Kulturmarken, über deren Profil gegenwärtig wieder kontrovers debattiert wird. Das Buch erscheint zur gleichnamigen Ausstellung in der Neuen Galerie Kassel, 24. Mai bis 8. September 2019.

Artworks by Samuel Bak, painter born in Vilna, Poland, in 1933. Bak is a survivor of WWII. In his work, memory occupies a central place. In Bak's imagery the past continues, and coexists with the present. Both interact in his oeuvre. Bak paints the history. His history. The history of his people. But that isn't all. He also cultivates the art of questioning. He confronts historical evidence and brings back to life most relevant issues. He asks questions to himself too. Moreover, he inscribes multiple question marks on the very fundamentals of the world to which he belongs. What have I in common with Jews? I have hardly anything in common with myself. —Franz Kafka (Diaries II, 1914-24, January 8, 1914). Cornerstones Source of Energy Evidence Yellow Sky Temple of Learning Persistence Roots Destinies Remnants Personal Corner In the Old Streets Roof Top Green Shul Promise Under One Flag Reconstruction Still Life with Ego Loaded Artworks selection and sequence is by Mariano Akerman. Ref. Identity; alienation; uneasiness with the Jewish heritage; quintessential Jewish art. Resources • Samuel Bak, Speaking about the Unspeakable (lecture, Strasbourg, 2002), Center for Holocaust and Genocide Studies, University of Minnesota, 21.8.2012 • Yehudit Shendar, Samuel Bak: An Arduous Road, Yad Vashem, Jerusalem, 26.5.2013 • The Pucker Gallery, Boston, Massachusetts, 24.5.2013 • Lawrence L. Langer, Introduction to Illuminations, Newton, Massachusetts, 25.5.2010 • Samuel Bak's Paintings, Facing History and Ourselves, Brookline, Massachusetts, 24.5.2013 • El presente trabajo posee también una versión en español, Bak, pintor de interrogantes, 27.5.2013

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Texto de la conferencia presentada en Buenos Aires, Argentina.* Designación latina con la que se conoce a las alegorías teológicas de la Iglesia y la Sinagoga en el arte eclesiástico medieval, donde —según la teología eclesiástica— simbolizan el Evangelio y la "Antigua" Ley (Mosaica). Ellas se refieren a dogmas teológicos (y no a sus ámbitos de culto, conocidos respectivamente como iglesia y sinagoga). París, Bibliothèque Nationale de France, Ovide Moralisé, 1316-28, Ms. Arsenal 5069, fol. 111v Las personificaciones de Ecclesia y Synagoga son frecuentes en el arte eclesiástico medieval. Su representación se da en marfiles carolingios, manuscritos iluminados y otros objetos litúrgicos, llegando luego a constituir un elemento habitual en la decoración escultórica de iglesias románicas y góticas del Viejo Continente.[1] Marfil carolingio, relieve: Maria y Ecclesia, Synagoga y Juan bajo la Cruz, Colonia, c. 1050. Hessisches Landesmuseum, Darmstadt Antigua y Nueva Ley (ambas sobre una rama), bas-de-page, detalle de un manuscrito iluminado (La Haya, Museum Meermanno, Ms. Den Haag, KB, 76 E 16 71r. Prólogo para el Evangelio). Inicial "T", Manuscrito Pontificio de Chartres, Orleans, principios s. XIII. Catedral de Notre Dame, Chartres; UP Dos detalles del Altar Portable de Stavelot, c. 1160, Musées Royaux d'Art et d'Histoire, Bruselas Portal sur de la Catedral de Estrasburgo (entonces Straßburg, Alemania; hoy Strasbourg, Francia), c. 1230 Las alegorías de Ecclesia y Synagoga reaparecen también en vitrales y diversas pinturas. Vitrales en Elisabethkirche, Marburg/Lahn, Alemania, c. 1200-50 Konrad Witz, Ecclesia y Synagoga, óleo sobre madera, 1435-38. Kunstmuseum, Basilea Maestro de la Leyenda de Santa Úrsula, Paneles superiores del políptico homónimo, óleo sobre madera, Flandes, 1475-82. Groeninge Museum, Brujas Durante la Edad Media, Ecclesia y Synagoga suelen por lo general encontrarse ubicadas a ambos lados de la Crucifixión. Marfil de Metz, s. IX-X Viena, Österreichische Nationalbibliothek, Antifonario de San Pedro, Salzburgo, c. 1160, Cod. Vindob. S.N. 2700 Medallón de un vitral de la Catedral de Bourges, Francia Crucifixión con Ecclesia y Synagoga, proveniente de un manuscrito iluminado, posiblemente s. XIV Inicial "O", con la Crucifixión y la Profecía de Habacuc. Inglaterra, Lambeth Palace, Manuscrito anglosajón Lambeth 3, detalle de fol. 307r. Dada su naturaleza alegórica, Ecclesia y Synagoga constituyen personificaciones simbólicas. Durante la Edad Media fueron concebidas con el propósito de comunicar la doctrina o tesis escolástica que establecía el triunfo teológico del Cristianismo sobre el Judaísmo.[2] Debido a ello, y particularmente en el contexto del arte eclesiástico medieval, Ecclesia y Synagoga fueron representadas como figuras antitéticas. Es en tal ámbito que fueron materializadas como dos figuras femeninas: Ecclesia comunica la idea de triunfo, Synagoga tiene como fin proclamar su supuestamente ruinosa condición. Toulouse, Bibliothèque Municipale, Ms. 234, fol. 3v Ecclesia y Synagoga presentan actitudes corporales y atributos contrastantes. Réplicas de las esculturas del portal sur de la Catedral de Estrasburgo (los originales datan de c. 1230). Museo Nahum Goldmann, Beth Hatefutsoth Ecclesia aparece segura de sí misma, victoriosa, en tanto que Synagoga se ve abatida y cabizbaja. Un estudiado contraste clerical: Ecclesia y Synagoga, con los que en teoría eran sus respectivos atributos Ecclesia lleva una corona bien plantada sobre su cabeza, empuña el estandarte de la Cristiandad, cuya culminación es una cruz, y porta el cáliz donde ha recogido la sangre de Jesús. Synagoga, contrariamente, tiende a perder su corona (pudiendo la misma estar a punto de caérsele de la cabeza, habérsele ya caído o ser inexistente), lleva sus ojos vendados (signo de imposibilidad de visión o incluso de ceguera), porta con dificultad las Tablas de la Ley (no pocas veces invertidas) y sostiene cetro o un estandarte a mástil quebrado. Esculturas medievales provenientes de Treves, Alemania Para la teología cristiana medieval, Synagoga era la religión judía personificada, ciega ante el Redentor, mientras que Ecclesia, personificaba la religión cristiana, entendida como la única verdad posible. En tal sentido, los trabajos del arte eclesiástico medieval constituyen un importante testimonio del discurso político-religioso oficial que prevaleció a lo largo de casi la toda la Edad Media. Guillelmus Duranti, Rationale divinorum officiorum, París, siglo XIV; Ms. Français 176 , Fol. 1 En su gran mayoría, las alegorías de Ecclesia y Synagoga fueron concebidas y realizadas en consonancia con el dogma eclesiástico de la época, según el cual Ecclesia no podía ser otra que la vencedora, mientras que Synagoga se mostraba en la derrota. Etatuas de piedra en la Catedral de Metz, siglo XIII La fórmula aplicada fue maniqueísta e implicó un contraste sostenido a partir de la aplicación del principio de "o lo uno o lo otro," principio que fue llevado hasta sus últimas consecuencias: Iglesia o Sinagoga, Cristianismo o Judaísmo, Redención o Ley, visión o ceguera, victoria o derrota. Ocasionalmente se dieron algunas variaciones, pero ellas fueron meramente formales y respondieron todas a un maniqueísmo análogo: sol o luna, virtud o pecado, juventud o vejez, fertilidad o esterilidad, salvación o muerte.[3] En otras palabras, el mensaje que Ecclesia et Synagoga transmiten habla de autoafirmación eclesiástica, pero a partir de la rivalidad y una eventual suplantación.[4] Inicial "Q", Homilías de Beda, ms. iluminado, Verdún, Francia, s. XIII Es así que la Iglesia canonizó la santidad de los hebreos bíblicos, pero tomó distancia de sus descendientes en caso de no haberse estos últimos convertido al cristianismo. Luego del advenimiento del Cristo, el judaísmo se volvió una especie de fósil para la Iglesia.[5] Esto se debe al hecho de que desde el punto de vista de la teología eclesiástica, el Evangelio es entendido como prueba del cumplimiento y la realización de la profecía heredada de Israel. Fernando Gallego, Salvator Mundi, óleo, 1485. Museo del Prado, Madrid A fines del medioevo y desde entonces la imaginería de Ecclesia et Synagoga fue empleada con propósitos antisemitas y no tardó en producir choques interreligiosos. La historia de la Sinagoga de Santa María la Blanca en Toledo es triste ejemplo de cómo las cosas solían 'resolverse' por aquellos tiempos. Synagoga, detalle de la obra de Gallego en el Museo del Prado Sin embargo es menester indicar que el medallón en un vitral ejecutado en la Basílica de Saint Denis (Francia, siglo XII) muestra a Cristo bendiciendo a Ecclesia y liberando a Synagoga del velo que (según la tradición eclesiástica medieval) cubría sus ojos. Medallón de un vitral en la Basílica de Saint Denis: Jesús, Ecclesia y Synagoga, Francia, s. XII A diferencia de su predecesor medieval, el arte contemporáneo tiende a presentar a Ecclesia et Synagoga con atributos distintivos pero sugiriendo una coexistencia pacífica y mutuo respeto. Paula Mary Turnbull, Ecclesia et Synagoga, estatuillas, siglo XX Bert Menco, Synagoga et Ecclesia, grabado a 25 placas, 2007. Illinois State Museum, Springfield, Illinois Franz Hämmerle, Synagoga et Ecclessia, 1999 - Notas y referencias *. Mariano Akerman es historiador del arte e investigador independiente. 1. Ecclesia y Synagoga son prominentes en las catedrales de dichos países. Entre ellas, importantes son las de Bamberg y Estrasburgo (Alemania); Rheims, París y Burdeos (Francia); Rochester, Lincoln, Salisbury y Winchester (Inglaterra). La deteriorada condicion de las estatuas inglesas solo permite ver restos fragmentarios de las mismas. 2. Tal tesis fue fuente de amargas disputas entre cristianos e judíos. Cada grupo sostenía su punto de vista con convicción e insistencia, de modo que las diferencias se subrayaban y las tensiones iban siempre en aumento. Salvo raras excepciones, el legado teológico de ambos grupos les impedía trascender sus diferencias y aceptarse mutuamente. 3. Tal efecto llegaría incluso más allá de la Edad Media, tal como lo demuestra hoy la imaginería de algunas estatuas españolas, fuente bautismal inglesa o pintura ejecutada por un alemán. 4. Acabado ejemplo de ello es el tema tratado por el pintor anónimo hispano-flamenco que en 1450 ejecutaría el óleo hoy conocido como "La Fuente de la Gracia y Triunfo de la Iglesia sobre la Sinagoga" (Museo del Prado, Madrid). En esa pintura un Sumo Sacerdote de Israel (tiempos bíblicos) colapsa ante el Papa (su antítesis contemporánea). Al igual que Synagoga, el mencionado Sacerdote lleva sus ojos vendados, presenta un estandarte quebrado y no puede evitar que los rollos de la Ley Mosaica caigan al suelo. Mas las inscripciones que aluden a ella incluyen caracteres pseudo-hebreos, indudablemente inventados por un pintor que, a diferencia de su eminente predecesor, Jan van Eyck, poco y nada entendía de sintaxis o caligrafía hebreas (imagen de alta resolución). 5. Véase Sigmund Freud, Der Mann Moses und die monotheistische Religion: Drei Abhandlungen (Moisés y la religión monoteísta: tres ensayos), 1934-39; Complete Works of Sigmund Freud, ed. James Strachey, vol. 23; trad. castellana: con "el triunfo del cristianismo [...] la religión judía quedo en cierta manera reducida a la categoría de un fósil" (Librodot). La alegoría de Synagoga indudablemente es consonante con la citada lectura freudiana. • Investigación, texto y secuencia visual: Mariano Akerman, Noviembre 2010 © Todos los derechos reservados. Las imágenes son presentadas con propósitos exclusivamente educativos y pertenecen al dominio común o son propiedad de sus respectivos dueños • Queda prohibida la reproducción total o parcial del presente texto sin el previo consentimiento por escrito de su autor, quien retiene los derechos que forman parte de su patrimonio intelectual. Recursos bibliográficos y digitales Bartal, Ruth. Medieval Images of Sacred Love, Assaph 2, 1996, pp. 93-110; pdf. Bernard of Claivaux, Jewish Encyclopaedia, 1901-6. Blumenfeld-Kosinski, Renate. Illustrations et interprétations dans un manuscrit de l’Ovide moralisé (Arsenal 5069), Cahiers de recherches médiévales et humanistes 9, 2002 (2006-10). Böhmisch, Franz. Synagoga et Ecclesia, Exegese einer Beziehung in Wort und Bild, Animabit, Linz, 2001. Books, Vidimus 27, 3.2009; ref. Daniel Parello, Die mittelalterlichen Glasmalereien in Marburg und Nordhessen, Corpus Vitrearum Medii Aevi, Deutschland Band III, 3: Marburg und Nordhessen, Berlin: Deutscher Verlag für Kunstwissenschaft, 2008. Castelnau, Gilles. La synagogue et l’Église chrétienne, Évangile et liberté 219, Mayo 2008. Christian-Jewish Interfaith Topics, list (2010). Darmon, Nadia. L’Image des Juifs dans l’art chrétien médiéval, Judaïques Cultures, 21.9.2005; ref. Jean-François Faü, L’Image des Juifs dans l’art chrétien médiéval, Maisonneuve & Larose, 2005. Duchêne, Marie-Noële y Jean-Luc. Le dialogue judéo-chrétien, Évangile et liberté 208, Abril 2007. Ecclesia et Synagoga, entrada en Wikipedia inglesa. Ecclesia et Synagoga, Wikimedia Commons, imágenes. Ecclesia und Synagoga, das Judentum in der christlichen Kunst, Gelsenkirchen, Alemania, 2007. El error de la Teología de la Suplantación, tr. T.S. Riddering, Puentes para la paz, 770121S García, Francisco de Asís. Iglesia y Sinagoga ("Iglesia versus Sinagoga" cuando fue inicialmente publicado online en 2010), Revista Digital de Iconografía Medieval, Vol. 5, N°9, Universidad Complutense de Madrid, 2013, pp. 13-27; e-ISSN: 2254-853X Hall, James. Dictionary of Subjects and Symbols in Art, New York: Harper & Row, 1979. Hebrew History Federation, New York Jeffrey, David L. "Ecclesia, Synagoga," A Dictionary of Biblical Tradition in English Literature, Wm. B. Eerdmans Publishing, 1992, pp. 222-23. Kniesmeyer, Joke, y D.C. Brecher. Middle Ages, Beyond the Pale, Holanda, 1995, pp. 6-17. La victoire défaite, Willems Consultants, Hautetfort, 23.3.2009 Levy, Richard S. "Christian Iconography," Antisemitism: A Historical Encyclopedia of Prejudice and Persecution, vol. II, 2005, pp. 339-42. Magnuson, Joan G. Antisemitism and the Jewish Experience, Foundations of our Faith, PDF, 2006. Pabst, Irene. The Interpretation of the Sarah-Hagar-Stories in Rabbinic and Patristic Literature, Lectio difficilior 1, Universität Bern, 2003. Permenter, Brooke Falk. To see or not to see in the Middle Ages: Blind Jews in Christian Eyes, Medievalists, 8.3.2011 Pierson, Russ. Hall of Shame, The Church and Anti-Semitism, Foundations of our Faith, PDF, 2006. Poliakov, Léon. Geschichte des Antisemitismus, Bd. 1, 2. unveränderte Auflage, Worms 1979. Raddatz, Alfred. Ecclesia und Synagoga, Entstehung des Bildmotivs im Mittelalter (1978), Koordinierungsausschuss für christlich-jüdische Zusammenarbeit (6.10.2010). Raphaël, Freddy. L'Église et la Synagogue, l'évolution du thème, ASIJA, Alsace-Lorraine (10.10.2010). Reuter, Jasmín. Alegoría de la Sinagoga, Revista de la Universidad de México 20:1 (1965), pp. 18-20. Rodríguez-Barral, Paulino. Contra caecitatem iudeorum, el tópico de la ceguera de los judíos en la plástica medieval hispana, Revista de Ciencia de las Religiones 12 (2007), pp. 181-209. ___. La imagen del judío en la España medieval: el conflicto entre cristianismo y judaísmo en las artes visuales góticas, Bellaterra, Barcelona: Universitat Autònoma, 2008. PDF libre, pp. 19-49. Rosenau, Helen. Ecclesia et Synagoga, Jewish Virtual Library, 2008. Rudnick, Ursula, and Dalia Marx. Fighting with a Sister – fighting with God: Rachel and Lea, Vayetse, pp. 1-4. Schreckenberg, Heinz. The Jews in Christian Art: An Illustrated History (Die Juden in der Kunst Europas, ein historischer Bildatlas), Nueva York: Continuum, 1996. Sullivan, Mary Ann. Strasbourg: Ecclesia and Synagoga (imágenes), Bluffton University, Ohio, sin fechar. Taubmann, Florence. La spécificité du dialogue judéo-chrétien dans le dialogue interreligieux (2005), Évangile et liberté 208, Abril 2007. Akerman, Mariano. Las alegorías teológicas y sus atributos en el arte visual, Cantar de los Cantares y Sinagoga: la llave del enigma Addendum Cunningham, Philip A. Themes in Catholic Post-Nostra Aetate Theology, Current Dialogue 53 (2012), pp. 10-20. Evangelii Gaudium, 2013 Maier, Hans. „Die Binde vor den Augen?‟, Stimmen der Zeit 11 (2013), pp. 723-733. inglés, alemán fuente Celebrating and Deepening the New Christian-Jewish Relationship, A Statement from the International Council of Christians and Jews for the Golden Jubilee of the Second Vatican Council Declaration, Nostra Aetate, 2015 ICCJ Annual Conference, Rome, June 28 - July 1, 2015 ICCJ Concludes Annual Meeting in Rome; Welcomed to Vatican by Pope Francis, 1.7.2015 50 Years of a Journey of Friendship: Texts, SJU, 25.9.2015 In the modern period we Jews and Christians rely heavily upon the written word. For example, Jews pray from books such as the siddur and mahzor, and Catholics from missals and prayerbooks. Or we study sacred writings by laying out texts before us, leaning over them as we seek out their insights. In this era of widespread literacy, it is hard to recapture an earlier sense of the importance of the visual to religious life. With our preference for the precision of texts, we can overlook the power of images. But in the pre-modern Christian traditions especially and in Judaism as well, most people, being unable to read, learned visually. Rather than access the holy primarily through the written word, many were guided and uplifted by what they saw or touched. Biblical scenes in stained glass, statuary, synagogues that reproduced aspects of the ancient Jerusalem Temple, illuminated manuscripts—these and other visual creations instructed their viewers. The traditional Christian statues of Ecclesia and Synagoga, found in dozens of medieval churches, were not simply decorative but were serious teaching tools. One figure was a majestic woman, usually crowned and holding a chalice or a cross, as an image of victorious Christianity. She was juxtaposed against a second figure, a blindfolded and slumped-over woman, usually carrying a broken staff or torn Torah scroll, as an image of vanquished Judaism. An example from the Cathedral of Notre Dame in Paris can be found in the program booklet (on p. 5). With these statues, Christians were led to view the relationship between God and the Jews as broken. The original people of God were beaten down and cast off, their place taken by a new people of God. This theological message was profound, and encouraged contempt for Judaism and likely for Jews. Such messages were reinforced in preaching, of course. However, the visual evidence—in some cases detailed, full-size figures looking out at parishioners—surely gave this motif great power. Modern scholars, clergy, theologians, and educators have vigorously challenged these presentations. Historically, they have questioned views of Judaism after Jesus as moribund and spiritually arid. Theologically, they have rejected traditional Christian denunciations of Jews as sinful, blind to the truth, and eternally cursed for the crucifixion of Jesus. Today we therefore gratefully commemorate the fiftieth anniversary of the Second Vatican Council declaration Nostra Aetate, which initiated a major break with such noxious images and ideas. This influential statement spurred a wide range of salutary changes not only in Catholic-Jewish relations but in relations between Christians and Jews generally. We also commemorate the founding of the Institute for Jewish-Catholic Relations of Saint Joseph’s University, which has worked to increase knowledge and deepen understanding between Jews and Catholic for nearly five decades (Adam L. Gregerman: "Memorializing the New Relationship between Jews and Catholics"). 50 Years of a Journey of Friendship: Booklet, SJU, 25.9.2015 The Medieval Motif of Synagoga and Ecclesia and Its Transformation in a Post-Nostra Aetate Church In the Middle Ages, the feminine figures of Ecclesia (Church) and Synagoga (Synagogue) were a familiar motif in Christian art. It was a visual presentation of the understanding of the relationship between Christianity and Judaism that prevailed in that era. Mary C. Boys has described it as follows: We can see a [particular] pattern in the Christian iconography of the dual figures Synagoga and Ecclesia. For many Christians of the Middle Ages, the status of Judaism evoked images from Lamentations (1:1; 5:16-17): How lonely sits the city that once was full of people! How like a widow she has become, she that was great among the nations! She that was a princess among the provinces has become a vassal. The crown has fallen from our head; woe to us, for we have sinned! Because of this our hearts are sick, because of these things our eyes have grown dim. Like Leah of the weak eyes (see Genesis 29:17), Synagoga was blind to Christ. As second-century apologist Justin Martyr said to the Jew Trypho, "Leah is your people and the synagogue, while Rachel is our church ...; Leah has weak eyes, and the eyes of your spirit are also weak." Synagoga symbolizes an obsolete Judaism. In some depictions of this allegorical pair, we see a triumphant Ecclesia standing erect next to the bowed, blindfolded figure of the defeated yet dignified Synagoga (e.g., the thirteenth-century stone figures in the cathedrals of Strasbourg, Freiburg, Bamberg, Magdeburg, Reims, and Notre Dame [Paris]). Though the church has triumphed over synagogue, the latter is a tragic rather than sinister figure--a woman conquered, with her crown fallen, staff broken, and Torah dropping to the ground. ... Other representations of Synagoga, particularly in the Late Middle Ages, present a more contemptible figure. For example, in a fifteenth-century portrayal of the crucifixion, Ecclesia holds a chalice to receive the blood from the pierced heart of Jesus, whereas Synagoga turns away from him, in the clasp of a devil who rides atop her neck and blinds her to the Christ by covering her eyes. The association with the devil evokes a malevolent Synagoga. ... Many [Medieval Christians] would have viewed the figures of Synagoga and Ecclesia, and thereby absorbed a dangerous lesson: Judaism no longer has reason to exist. - Mary C. Boys, Has God Only One Blessing? Judaism as a Source of Christian Self-Understanding (Paulist Press, 2000), 31-35. Contrast this long-lived derogatory Christian attitude toward Judaism with these recent words of Pope Francis: We hold the Jewish people in special regard because their covenant with God has never been revoked, for “the gifts and the call of God are irrevocable” (Rom 11:29). ... Dialogue and friendship with the children of Israel are part of the life of Jesus’ disciples. The friendship which has grown between us makes us bitterly and sincerely regret the terrible persecutions which they have endured, and continue to endure, especially those that have involved Christians. God continues to work among the people of the Old Covenant and to bring forth treasures of wisdom which flow from their encounter with his word. For this reason, the Church also is enriched when she receives the values of Judaism. - Pope Francis, Evangelii Gaudium (201[3]), 247-249. Ill. Captions 1. These images from Notre Dame de Paris, similar to dozens of other portrayals of Church and Synagogue in the Middle Ages, are on either side of the main portal of the Cathedral's western facade. On the left, Church is a crowned, triumphant woman bearing the chalice of the Eucharist and a staff of authority. On the right, Synagogue is a defeated woman, whose crown has fallen, whose staff is broken, with the tablets of the Law slipping from her limp hand, and her eyes blindfolded by a serpent. 2. For a 20th-century American version of the same motif by the famous artist John Singer Sargent, visit the Boston Public Library site for his images of desolated Synagogue and majestic Church. __ 50 Years of a Journey of Friendship: Booklet, SJU, 25.9.2015, p. 5: "Transforming a Medieval Motif from Enmity to Friendship" p. 5 In the Middle Ages, the feminine images of Ecclesia (Church) and Synagoga (Synagogue) were a familiar motif in Christian art. They visually represented the inimical understanding of the relationship between Christianity and Judaism that prevailed in that era. These figures from the Cathedral of Notre-Dame de Paris (c. 1240) are similar to dozens of medieval statues of Synagogue and Church. On the left, Church is crowned and triumphant, bearing the chalice of the Eucharist and a staff of authority. On the right, Synagogue's crown has fallen, her staff is broken, the tablets of the Law are slipping from her limp hand, and her eyes blinfolded by a serpent. As mary c. Boys has pointed out, such depictions of the status of Judaism in Christendom drew upon the biblical Book of Lamentations (1:1, 5:16-17): How lonely sits the city that once was full of people! How like a widow she has become, she that was great among the nations! She that was a princess among the provinces has become a vassal. The crown has fallen from our head; woe to us, for we have sinned! Because of this our hearts are sick, because of these things our eyes have grown dim. Such hostile teachings have been repudiated in the post-Nostra Aetate Catholic Church. In our time the images are needed in the light of the journey of friendship between Jews and Catholics that has begun to unfold in the fifty years since the Declaration's promulgation. The original sculpture by Joshua Koffman, "Synagoga and Ecclesia in Our Time," expresses the words of Pope Francis: "There exists a rich complementarity between the Church and the Jewish people that allows us to help one another mine the riches of God's word." Both feminine figures are crowned and proud of their respective traditions. They are friends in covenant with God learning from one another's sacred texts and traditions. The sculpture will educate thousands of passerby about the new Jewish-Catholic relationship for decades to come. p. 6: "Synagoga and Ecclesia in Our Time" The full-size clay version of the original sculpture "Synagoga and Ecclesia in Our Time" by artist Joshua Koffman portrays Jews and Christians as friends and learning partners. It reverses the medieval motif of the crowned and majestic Church triumphing over a defeated, crownless and blinfolded Synagogue. Fifty years after the 1965 promulgation of the Second Vatican Council declaration Nostra Aetate, Catholics and Jews are able to study and learn together. Evoking the traditional rabbinic chavruta style of studying texts together in pairs, they can explore their covenantal lives with the Holy One in ways that have not been possible for nearly two thousand years. this unprecedented historical situation is the legacy of Nostra Aetate that the final bronze celebrates.