File:Ms77a-046v.jpg
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editDescriptionMs77a-046v.jpg |
English: Illustration in the Kaufmann Mishneh Torah. Another remarkable trait of this manuscript is that it contains many profane illustrations in the margin – in one instance the illustration is even obscene – which bear no relation whatsoever to the text. This cannot be regarded a unique feature of manuscripts produced in the middle of the 13th century: their emergence was closely connected to the spread of Dominican and Franciscan preaching at the time with parables and exempla using motifs from animal fables, bestiaries and – sometimes even becoming completely independent of the text itself. The widespread use of anecdotes in sermons was meant to rekindle flagging interest in theological dogma among believers, and the margin illustrations in manuscripts are to a considerable extent visual manifestations of themes popularized through fabliaux and exempla. Gabrielle Sed-Rajna has shown that most of “the marginal figures have been transferred to this manuscript from a model book used also for several contemporary Latin manuscripts from the same area, executed for the local aristocratic family Bar” – an example of close professional relationship between craftsmen of the Jewish and Christian communities. The popularity of representations of this kind in Christian art in general is attested, for instance, by the fiery diatribe of Bernard of Clairvaux (1090-1153) against non-religious monastic ornamentation. It may be remarked that margin illustrations – including obscene representations – abound in Christian liturgical books while they are rare in secular ones, a strange phenomenon, which Randall is inclined to attribute to an attempt at “provocation by contrast.” Not infrequently it is difficult to decipher the exact symbolic meaning of a given illustration; sometimes this is hardly any longer possible in view of the frequent occurrence of more or less abstruse references to contemporary persons and ideas. There can be no doubt, however, that these margin illustrations were often simply the figments of the artists' imaginations, “diversions which relieved the tedium of daily life.” Thus for instance at the bottom of folio 46 of volume I of our manuscript, the frontispiece of the Book of Adoration, we can see a scene “from the Roman de Renard: the fox, having stolen a goose (or here a cock), is pursued by a woman brandishing a spindle.” In connection with the obscene scene in the upper margin – a man shooting an arrow at the nude hindquarters of a man bending forward – one cannot help but imagine the illuminator who, tired of his monotonous work, suddenly conceives a prank just like an adolescent, in the same way as his modern-day successor, the composer of entries in an encyclopaedia, tired of carding, inserts an entry on a non-existent painter into the serious work of reference, or the lexicographer suddenly gives vent to the accumulated tension of monotony in one of his entries. |
Date | |
Source | David Kaufmann and his collection |
Author | Unknown authorUnknown author |
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This is a faithful photographic reproduction of a two-dimensional, public domain work of art. The work of art itself is in the public domain for the following reason:
The official position taken by the Wikimedia Foundation is that "faithful reproductions of two-dimensional public domain works of art are public domain".
This photographic reproduction is therefore also considered to be in the public domain in the United States. In other jurisdictions, re-use of this content may be restricted; see Reuse of PD-Art photographs for details. |
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Camera manufacturer | NIKON CORPORATION |
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Camera model | NIKON D100 |
Exposure time | 1/13 sec (0.076923076923077) |
F-number | f/9 |
Date and time of data generation | 22:48, 14 March 2002 |
Lens focal length | 34 mm |
JPEG file comment | ACD Systems Digital Imaging |
Orientation | Normal |
Horizontal resolution | 300 dpi |
Vertical resolution | 300 dpi |
Software used | Adobe Photoshop 7.0 |
File change date and time | 21:55, 3 November 2008 |
Y and C positioning | Co-sited |
Exposure Program | Manual |
Exif version | 2.2 |
Date and time of digitizing | 22:48, 14 March 2002 |
Meaning of each component |
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Image compression mode | 4 |
APEX exposure bias | 0 |
Maximum land aperture | 3.8 APEX (f/3.73) |
Metering mode | Pattern |
Light source | Tungsten (incandescent light) |
Flash | Flash did not fire |
DateTime subseconds | 00 |
DateTimeOriginal subseconds | 00 |
DateTimeDigitized subseconds | 00 |
Supported Flashpix version | 1 |
Color space | sRGB |
Sensing method | One-chip color area sensor |
File source | Digital still camera |
Scene type | A directly photographed image |