Kerubim in Semitic Religion and Art


Book Description

This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.




Kerubim in Semitic Religion and Art


Book Description

Excerpt from Kerubim in Semitic Religion and Art What were the Kerubim? This is a problem that until recently has been obscure owing to the want of the proper historical and scientific point of view. Hitherto the discussion of the problem has been largely influenced by theological bias, a side of the question which was reserved to itself by the Church, but the deciphering of the cuneiform texts and our resultant increased knowledge from them has changed the entire situation. Furthermore, the results of the science of Comparative Religion, largely deduced in this instance from the cuneiform texts, have altered our views. It is proposed in this treatise to trace by means of the historical documents the development of the Kerubim ideas and to endeavor to discover exactly what concrete form the name Kerub awakened in the Hebrew mind. A study of the O. T. sources plainly indicates that the earliest accounts were written at a date long subsequent to the times represented in the sources. The oldest narrative in which is found a reference to the Kerubim is Gen. iii:24. After having driven the first human pair from the earthly Paradise, as a punishment for their sin, it is written that "Yahveh Elohim placed to the East of the Garden of Eden the Kerubim and the flaming blade of the sword which turns, to keep the way of the tree of life." Gen. iii:24. Probably we have here, as scholars generally believe, two independent symbols - the fiery sword and Kerubim - for the sword is one and the Kerubim are many; and the symbol of the sword is represented elsewhere, as an independent power, the ultimate source of which is evidently the fiery sword of Gen. iii:24. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.




Kerubim in Semitic Religion and Art


Book Description

This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work.This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.










Images of Cosmology in Jewish and Byzantine Art


Book Description

Does the design of the Tabernacle in the wilderness correspond to God’s blueprint of Creation? The Christian Topography, a sixth-century Byzantine Christian work, presents such a cosmology. Its theory is based on the “pattern” revealed to Moses on Mount Sinai when he was told to build the Tabernacle and its implements “after their pattern, which is being shown thee on the Mount.” (Exod. 25: 40). The book demonstrates, through texts and images, the motifs that link the Tabernacle and Creation. It traces the long chain of transmission that connects the Jewish and Christian traditions from Syria and ancient Israel to France and Spain from the first through the fourteenth century, revealing new models of interaction between Judaism and Christianity.







Kabbalah's Secret Circles


Book Description

Discover the many lost and forgotten secrets of the Kabbalah through the words of famous rabbis and authors throughout history. Follow a historical time line of Judaic mysticism and learn the basic principles of the Kabbalah. Devise your own Kabbalah Wheel to spin the legendary 231 Holy Gates of combinations and permutations, as described in the ancient book on Jewish mysticism– the Sepher Yetzirah (also known as The Book of Formation or Book of Creation).




From Gabriel to Lucifer


Book Description

Fiery the angels fell; slow thunder rolled around their shores, burning with the fires of Orc.' Whether in recent popular culture, or back across countless centuries, angels have perpetually enthralled, mystified and even terrified us. 'Every single angel is terrible,' wrote the German Romantic poet Rilke: 'and so I hold myself back from the dark bird-cry of my anguished sobbing.' For some in the sceptical, post-Enlightenment West, angels may be no more than metaphors: poetic devices to convey, at least for those with a religious sensibility, an active divine interest in creation. But for others, angels are absolutely real beings: manifestations of cosmic power and energy with the capacity either to enlighten or annihilate those whose awestruck paths they cross. Valery Rees here offers the first comprehensive history of these beautiful, enigmatic and sometimes dangerous beings, whose existence and actions have been charted across the eons of time and civilizations. From the ancient Sumerian and Akkadian winged figures, to Egyptian representations of Ma'at, Persian genii, Arab djinn, biblical cherubim, daemons of Hermes Trismegistus and Milton's defiant fallen angels, From Gabriel to Lucifer reveals a mesmerising trajectory of angelic belief. Whether exploring the feverish visions of Ezekiel and biblical cherubim; the Islamic archangels Jibra'il, Azra'il, Mika'il and Israfil; the austere and haunting icons of Andrei Rublev; or Wim Wenders' Wings of Desire, and the more benign idea of the ever-watchful guardian angel, the author shows that the very ubiquity of these implacable celestial messengers reveal something fundamental, if not about God and the devil, then about ourselves: our perennial preoccupation withhow to depict the transcendent.