By Elisabeth R. Agro
Judaica are Jewish ritual objects found either in
the home or synagogue, and are integral to the rituals, celebrations, and
holidays throughout the Jewish calendar. The artists who produce Judaica
strive to create sacred objects that will enrich a participant’s observance
and reflect the talmudic idea of hiddur mitzvah: “the glorification and
enhancement of Jewish ceremonies” or “observance in beauty.” Thus each
object graces and embellishes a particular ceremony, and the creative process
of making beautiful, well-designed Judaica is also a contribution to hiddur
mitzvah.
Harold Rabinowitz’s Torah Crown reflects his current free-flowing
and sculptural style. The straps represent ceremonial bindings (retzuot)
of Tefillin (leather boxes containing bibilical inscriptions). The
spheres symbolize the Twelve Tribes of Israel. The Hebrew inscription,
which comes from the Zohar, the book of Splendor used for Sabbath
services, quotes the second line of the prayer: “Blessed is the name
of the Master of the universe, Blessed is your crown and your place.”
Because Judaic objects relate to religious ceremonies, a basic consistency
of ideas can be seen in the various types of Judaica. A Hanukkah lamp,
for instance, has a recognizable form in the use of eight receptacles (either
for oil or candles)-one for each day of the holiday, plus one called a
shamash or “servant,” which is used to ignite the others.
Although ritual use governs Judaic design, the ethnic diversity of Jewish
communities worldwide produces many national and regional styles. Spice
boxes, called hadassim (used in the Havdalah ceremony at the conclusion
of Sabbath), are typical objects subject to regional interpretation. Those
boxes made in Eastern Europe are reminiscent of the fortification towers
that still stand in such cities as Prague. Decorative flags, shingles,
and domes often top these hadassim. Indeed, a preference for historical
styles, often derived from baroque and rococo models, influences the design
of traditional Judaica.
Spices in the ceremony symbolize the spiritual riches of Sabbath, and
are blessed to ensure “that the new week should be fragrant in deeds,”
says Louis Jacobs in The Book of Jewish Belief (1984). The ritual of Havdalah
(the Hebrew word means “separation, division”) celebrates separation from
Sabbath and distinguishes the holy Sabbath from the secular workweek. The
blessing is made over wine, candles and spices.
Robyn Nichol’s Willow Branches Hannukah lamp (1996) refers to the
willow branches specifically used for Sukkot, a historical and agricultural
festival. Her work is a typically stylized representation of organic
forms, which is evident in the abstract flowing lines of Willow
Branches.
The ritualistic rules are basic to the contemporary designs of artists
who create Judaica, but the 20th century has developed its own creative
traditions. For example, the artist and teacher Ludwig Yehuda Wolpert (1900-1981)
advocated contemporary design and promoted the production of Judaica in
non-historic styles. A former professor of metalwork at the New Bezalel
School for Arts and Crafts in Jerusalem, Wolpert came from Israel in 1956
to direct the Tobe Pascher Workshop at the Jewish Museum in New York, and
his emphasis on artistic freedom and innovation can be seen in the work
of his many former students.
Contemporary Judaica is made by both Jewish and non-Jewish artists,
but all share a deep personal respect for the process of making spiritual
objects for ritual use. This attitude was clearly fundamental to the four
whom I interviewed about their craftsmanship: Robyn Nichols, Kurt Matzdorf,
Sue Amendolara, and Harold Rabinowitz.
Robyn Nichols, a silversmith from Kansas City, produces a wide range
of Jewish ceremonial objects in silver, including alms boxes, Sabbath candlesticks,
and Havdalah sets. Nichols is not Jewish, but she studies Judaism to ensure
her designs have Jewish significance and also adhere to Jewish law. She
consults rabbis to receive clarification and answers to her questions,
and to ensure that her use of the Hebrew language is correct. She admires
Hebrew lettering and incorporates it regularly into her work. Stories from
the Torah, the Jewish Bible, and traditional Jewish symbolism also influence
her work. While keeping the function of the object integral to her final
design, Nichols enjoys interpreting each Judaic object in her personal
style. When she speaks about producing Judaica, she confesses that she
gets goose bumps because the subject can be so moving. Knowing that her
objects are cherished and are passed on within families inspires her to
continue making Judaica.
Sue Amendolara’s work, whether jewelry or scent bottles, is
usually inspired by various forms of plant life. The shape of Palmetto
Spice Box (1996) is borrowed from a fan-leafed palm she photographed
on a recent trip to Morocco. Incorporating this motif into a religious
object presented her with a new challenge.
Kurt Matzdorf spends half of his time creating Judaica. The rest of
his work consists of secular objects and jewelry. Matzdorf, a silversmith
from New Paltz, New York, and professor emeritus of gold and silversmithing
at State University of New York, has been working silver for 43 years.
He enjoys working in a contemporary style, making objects that are of “today,
but yet are timeless.” He believes that since we live in the present, his
mission is to interpret Judaica for contemporary people.
Matzdorf sees the history of art and sculpture from antiquity to present
shaping his work and avoids “faddish styles.” Matzdorf began his artistic
career as a sculptor and says he evolved into a silversmith. His roots
as a sculptor are evident in the Tree of Life motif on his Kiddush Cup.
Currently working on doors for an ark-the permanent storage place for the
Torah-for the Congregation of Beth Jacobs in Kingston, New York, he will
include on the doors decorative symbols alluding to the Twelve Tribes of
Israel. He sees his work in precious metal as “celebrating visually our
history.”
Sue Amendolara, silversmith and associate professor at Edinboro University
of Pennsylvania, submitted her work to this exhibition because the long
tradition of Judaica engages her creativity. Amendolara is noted for her
scent bottles, and she discovered that a spice box provided a natural transition
from secular to spiritual work. Although Palmetto Spice Box was her first
attempt at executing a “spiritual work,” she believes that a strong relationship
exists between the silversmith and the ritual object. She has been asked
to make another Palmetto Spice Box and plans to participate in future Judaica
exhibitions.
Kurt Matzdorf’s Kiddush Cup (1983) has strong scultpural presence although
it is small in scale. Kiddush, which means “sanctification,”
celebrates two biblical events: Creation and the Exodus. Kiddush
is a prayer declaring that the Sabbath is holy and it is recited over the
wine at Sabbath and holiday meals. The Kiddush cup is a special goblet
that contains the wine to be blessed.
A maker of all types of Judaica for 37 years, Harold Rabinowitz works
in Malvern, New York. He began making jewelry as a child. In 1979, he became
a Fellow at the Tobe Pascher Workshop, and under the tutelage of Ludwig
Wolpert began to make Judaica and other types of objects in a contemporary
idiom. Working directly with Wolpert gave him a solid foundation, and he
recalls the moment 17 years ago when his work took on its own character,
becoming “more Rabinowitz.” He sees his metalwork as sculpture that has
a ritual function.
Rabinowitz’s Torah Crown was originally made for the exhibition Jerusalem
3000, which celebrated the anniversary of the holy city. Because Jerusalem
is considered the spiritual residence of God, a Torah crown had special
meaning. Rabinowitz believes “Judaica throughout history is a reflection
of its time.”
Contemporary Judaica embraces the spirit of today’s Judaism as a living
religion. Each of the objects in Artisans in Silver: Judaica Today expresses
this idea in bold contemporary style, yet each also demonstrates the ancient
spirit of hiddur mitzvah: the “observance in beauty” of ritual ceremony.
Elisabeth R. Agro is curatorial assistant of Decorative Arts, Carnegie
Museum of Art.
Tips for Keeping Your Silver Beautiful
Whether you have one treasured piece or a cabinet full of silver, you want
to give it proper care. Here, Museum of Art Objects Conservator Matthew
Fleischman reveals the best methods for maintaining your silver’s beauty.
Discourage Tarnish
Formation of tarnish can be slowed by keeping silver away from air pollutants
or other sulfur-containing materials, such as wool. For example, silver
can be stored in a silvercloth bag. This type of cloth is embedded with
tiny flakes of silver that tarnish faster than the surface of a silver
object. Silvercloth effectively uses up the sulfur before it can react
with your silverware. The cloth can also be purchased in rolls to line
shelves in display cabinets. Silvercloth is available in fabric stores.
Alternatively, silver can be wrapped in acid-free tissue and stored in
polyethylene bags typically used for food storage. Be sure the silver is
thoroughly dry before storing.
Check for Fingerprints
Gently breathe onto the surface of a silver object, and fingerprints and
other residues become momentarily visible and soluble-just lightly buff
them with a soft cotton cloth, such as a clean cloth diaper. If left on
the silver, the imprints will be etched into the surface.
Examine Before Cleaning
Before cleaning, try to determine how the piece was constructed. For example,
are there hollow sections such as handles or feet? Is it a knife that may
have a hollow handle or a candlestick that may be weighted with plaster
or rosin? Are there stones mounted to the object? Are there organic materials
such as wood or ivory that may be damaged by contact with moisture or cleaning
solutions? Was the silver intentionally darkened by the maker (this can
be true of late-19th-century silver) to enhance the appearance of the object?
An answer of yes to any of the above questions means that the object should
not be submerged in water or in cleaning solutions.
Work Carefully with an Appropriate Cleaner
Products such as polishing pastes and polishing cloths are widely available
and are generally the best way to clean silver. Be sure not to allow a
polishing cream to dry while using it or you may scratch the surface. Do
not use an all-purpose metal cleaner-use only products specifically intended
for cleaning silver. Remember that the way you use the product is as important
as which product you choose.
Try the Foil and Soda Dip
If the silver item can be safely immersed, try this method for the removal
of light tarnish: Fill a container with a solution of two cups washing
soda for each gallon of warm water. Cut enough aluminum foil to generously
triple wrap the silver item, then submerge both the object and the foil,
making sure that the object is in direct contact with the foil (no need
to actually wrap the object in the foil). The hotter the water, the faster
the reaction will be. The aluminum foil corrodes as the silver is cleaned,
and you may have to replace it with clean foil.
Don’t Go Overboard
Plan carefully what you intend to remove from the tarnished or grimy surface.
Silver has interior layers of tarnish (called firescale) that occur during
the fabrication of silver objects. After many years of polishing, the firescale
will become visible. You will know you have reached the firescale when
the tarnish will not come off. Do not try to polish it away-that will only
make it even more visible. Unfortunately, firescale cannot be removed.
Dealing with Heavy Tarnish
Loosen the tarnish with the foil and soda dip, then follow with polishing
paste or polishing cloth. Heavily tarnished areas brighten only to a dull
sheen-only prevention will negate this problem.
Handle with Clean Gloves
After silver has been cleaned, the best way to keep the surface free of
fingerprints and other residues is to handle the objects with clean 100%
cotton gloves.
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