Hadassah-Brandeis Institute Scholar in Residence fellowship -- call for applications

Candlesticks hands in blessing mark women's gravestones in Gura Humorului, Romania. Photo © Ruth Ellen Gruber

by Ruth Ellen Gruber

The Hadassah-Brandeis Institute at Brandeis University  has issued its call for applications for the summer or fall 2014 Scholar in Residence program.

It's a wonderful opportunity -- I was the Scholar in Residence at the HBI in early 2011, when I worked on my Candlesticks on Stone project about the visual representation of women in Jewish tombstone art.

In addition to the creation of the project web site, I present a paper about my project, which has been posted online as part of the Donna Sudarsky Memorial Working Paper Series.

You can view my paper HERE -- unfortunately it does not include the pictures, but you can see those on the Candlesticks on Stone web site.


Here are the details about the Residency and call for applications. 

The HBI Scholar-in-Residence programs provide scholars, artists, writers and communal professionals the opportunity to be in residence at Brandeis University while working on significant projects in the field of Jewish women’s and gender studies. 

Scholars-in-Residence receive a monthly stipend and office space at the Brandeis University Women’s Studies Research Center. Applicants living outside the U.S. and those whose work has an international dimension are especially encouraged to apply. 

Helen Gartner Hammer Scholars-in-Residence Program – Summer or Fall 2014 

Scholars are invited to apply for residency at the HBI to carry out significant research and artistic projects in the field of Jewish women’s and gender studies. Papers written while at the HBI are included in the Donna Sudarsky Memorial Working Paper Series. 

Residencies range from one month to the full academic semester. Scholars may begin the residency in August but should note that not all members of the Brandeis community will be available until the start of the academic year in September. 

Application deadline: January 30, 2014 

A decision will be announced by April 17, 2014 

FOR MORE INFORMATION, SEE 

http://www.brandeis.edu/hbi/residencies/scholar.html

Stones and Stone-carver images from a century ago

Here's a cross-post from candlesticksonstone

By Ruth Ellen Gruber

The wonderful imagery on East European tombstones was created by talented and extraordinarily creative stone-carvers who are now, for the most part, anonymous. Everyone so often, a photograph of a more recent traditional stone-carver turns up. Sergey Kravstov has sent me the image below.

The illustration is from the catalogue: The Jewish Art of Solomon Yudovin (1892-1954). From Folk Art to Socialist Realism, by Ruth Apter-Gabriel (Jerusalem, 1991). Yudevin was a wonderful artist born near Vitebsk, the same town where Marc Chagall was born.

The drypoint at right, dated 1939, is clearly based on the photo at left, taken in Ostroh/Ostrog in Volhynia — probably during the expedition into Ukraine led by the Yiddish writer An-Sky in 1912-14 to document the rapidly disappearing Jewish cultural life of the shtetl. This would mean that it was taken by Yudovin, who was a photographer on that expedition. It’s a very dramatic shot and to me looks staged!

I have tried to figure out what the design he is carving is — but I can’t make it out….

Here below is a wood cut by Yudevin that shows a funeral at a shtetl’s Jewish cemetery — including the gravestone of a woman that bears the typical candlestick motif.

Candlesticks on Stone - Typology...another cross post from the blog

Here's a cross post of my latest entry on the (Candle)sticksonstone web site

More thoughts on candlestick typology

By Ruth Ellen Gruber

The basis of this project is the collection of photographs of candlesticks on Jewish tombstones that I myself have taken, in Romania, Ukraine, Poland and elsewhere. These images show a vast range of artistry, skill and invention in the portrayal of the candlestick motif in denoting Jewish women. But they are by no means exhaustive. And, in fact, the more I read and the more I work here at the Hadassah Brandeis Institute thinking and theorizing, the more I simply want to be back in the field, seeking out the stones  and documenting the iconography, particularly forms that I failed to photographs on earlier trips.

There is, actually, not very much published material on East European tombstone decoration, and even less about the candles/candlestick/menorah motif used to denote women’s tombs. Scholars have begun to bemoan this. There is, wrote University of Massachusetts professor Aviva Ben Ur, “an academic print culture that regards sculpted stones and cemeteries as largely peripheral [...] The historian’s focus on the written word has also meant that stone imagery is at most a secondary consideration. Research on Jewish sepulchres has thus focused on inscriptions, and has been primarily concerned with local community history, genealogy of distinguished members, and linguistic aspects.” (See her article “Still Life: Sephardi, Ashkenazi, and West African Art and Form in Suriname’s Jewish Cemeteries” in American Jewish History, vol 92/1).

This attitude was borne out by the distinguished art historian Moshe Barasch, who in 1988 wrote a memoir article, “Reflection on Tombstones: Childhood Memories,” about the Jewish cemetery in his native Czernowitz (now Cernivtsi) Ukraine. Concerning the “level of artistic achievement” of the stone-carvings, he wrote:

Not too much should be expected. I shall have to describe the artistic character of the monuments as “primitive,” without going into a discussion of what the term means, fully aware that the meaning is far from obvious [...] Keeping mind the rather modest quality of these monuments, one’s expectations as to what the free exercise of an artist’s skill may provide in them should not be too high. (article published in Artibus et Historiae, Vol. 9, No. 17 (1988), pp. 127-135)

I of course strongly disagree with Barasch! (And the pictures that go with his article also prove him wrong.) He does admit, though, that one can be  “often surprised” by “the variations invented by popular fantasy and executed by anonymous stone carvers.”

In his PhD dissertation (which he very kindly sent me) Boris Khaimovich, of the Center for Jewish Art in Jerusalem, writes deeply and exhaustively about the carving, form and iconography of Jewish tombstones in western Ukraine in the 17th and 18th centuries — a period where some women’s tombstones were marked by candles but before the “boom” in this imagery in the 19th century that made them so commonplace. (One question that intrigues me, in fact, is why the candlestick boom developed? And why, really, only in parts of eastern Europe?)

Boris delves in depth into the meaning of animal and other imagery such as that  of birds representing the soul, or heraldic eagles — with one or two heads — representing the absoluteness of heavenly power, or that of a bear holding or pushing through branches, found both men’s and women’s tombs, and believed to symbolize that the deceased was pious or righteous.

Sataniv, Ukraine -- woman's tomb, with bear holding branches

But he only mentions candlesticks as women’s markers in passing (if at all) — though the photographs that go with his text clearly show a variety of candlestick, candelabra and menorah motifs, including an 18th century tombstone with hands blessing the candles.

My friend Monika Krajewska’s ground-breaking book A Tribe of Stone, which came out in Poland in 1993, remains one of the most comprehensive discussions of tombstone art in Eastern Europe — though it deals almost exclusively with Poland. Monika and her husband Staszek were early pioneers in seeking out and documenting Jewish cemeteries in Poland; Monika’s earlier book, A Time of Stones, came out in the early 1980s and was one of the first books on a Jewish topic to be published following the loosening of censorship in Poland thanks to the Solidarnosc revolution of 1980.

She describes a wide variety of typology of candlesticks, including braided candelabra which — as I have mentioned in an earlier post — she likens to the braiding of Challah bread (and thus representing two of the three “women’s commandments” at once) but which others describe as a form of the mystical “endless knot” motif. She writes:

“Some stone-cutters produced unusual forms, like a five-branched candelabrum made of snakes, or ones with branches that end with birds’ heads, oak leaves, or imaginary fish which lions’ heads. The foot of the candlestick may also take various shapes, such as an anchor or griphons’ heads. Candelabra made of floral ornaments derive from the mystical concept of the menorah as a Tree of Life, even though the stone masons who rendered such carvings might have been unaware of the association.”

She also notes the many ways that stone-carvers used candles being broken or extinguished as “elaborate death metaphors.”

“These include an eagle shown extinguishing candles with its claws, or a griphon putting out a flame with its beak. The following image is also rare, as well as intriguing: in the center of the relief are candles in candlesticks, some broken and others not; on one or two sides, hands hold new candles and seem to be lighting them from the old ones. Is this an allusion to the handing down of tradition, or of transmitting life itself?”

Piotrkow Trybunalski, Poland, 2010. Broken candles and a griffin.

Gura Humorului, September 2009. Griffins and candlesticks. An extremely elaborate, elegantly carved stone, from 1863, including griffins and floral designs.

Candlesticks on Stone - another cross post from the blog

Tombstone carver at work, 1916 (image from Bildarchiv, National Library, Vienna)

Stone-carver picture: a master at work

By Ruth Ellen Gruber

I’m posting this wonderful picture that Sergey Kravstov sent me of a tombstone carver in his shop in the town of Volodymyr-Volyn’skyi, Ukraine (known in Yiddish as Ludmir), in the Autumn of 1916 (the date is known from the date on the tombstone in the picture, which is assumed to have been carved — and painted — within the month after the funeral). The photo is from a glass negative held in the Bildarchiv (picture archive) of the National Library in Vienna.

The town is just inside today’s Ukraine near the Polish border, between Zamosc in Poland and Lutsk, Ukraine. At the time the picture was taken, about 6,000 Jews lived in the town.

If the finished stone show in any indication, this carver’s work was very simple — uh, minimalist? — and in no way approached the splendid sculptural style of past centuries. But — the picture clearly shows how the tombstone was painted. As seen below, this practice is still alive in Ukraine — in this picture, in the village of Sharhorod. (See comments to this post at the Candlesticks on Stone blog for a discussion of the methodology of painting and tombstones.)

Sharhorod, Ukraine -- sketched candlesticks and painted color.

Candlesticks on Stone -- cross post from the blog

Here's a crosspost from the Candlesticks on Stone blog, considering the question of  when did candlesticks become standard shorthand for denoting a woman.

By Ruth Ellen Gruber

Using candlesticks and candelabra to denote women on tombstones was very common by the mid to late 19th century in the parts of Eastern Europe where I have been focusing this study (northern Romania/Ukraine/Poland and surrounding territory). Indeed, by the late 19th century and early 20th century  this imagery was utilized almost across the board (though birds and flowers were also used), and there was even a variety of  pre-fab templates of fanciful candlesticks, including the style that marked the grave of of my great-great-grandmother, Chaya Dwoira, in the Jewish cemetery in Radauti.
These templates are striking but not great examples of stone-carving — though they derived from the wonderfully sculpted and imaginative stones of the 18th and early 19th centuries (and even in the 17th century). But, when massed together in a crowd, as in Radauti, they are very impressive nonetheless, providing a sense of — well — community or communality, in a way. 100 years and more ago they would have presented even a more striking sight, as they would have been painted bright colors.

Amid the forest of stones, the tomb of Chaya Dvoira (small stone in middle, at left)

Some of these “off the shelf” designs are rooted in the earlier designs of braided candelabra branches and bases that formed the mystical “endless knot” motif. Others attach leaves or sprouts to the candelabras, referring, I imagine to the also mystical “candelabra/menorah as tree of life” motif. Some show hands blessing the flames; others do not. What is interesting, too, is that even stones that looks as if they were carved from identical stencils often differ in subtle ways — note, for example, how the hands are carved differently, and how there are other slight differences in the ornamentation.

Radauti -- tremplate design with candles sprouting leaves

 

                     Radauti -- tremplate designs with candles sprouting leaves

When did the candlesticks imagery become the norm?

In the Old Jewish Cemetery in Siret, Romania,  some of the women’s tombs dating to the very early 19th century bear candle imagery (one has the representation of an antique-looking menorah, others with more fanciful candelabra, in combination with plant motifs).

And some candelabra or candle-bearing stones in Ukraine  date back as early as the mid-18th century. These were documented by the researcher Boris Khaimovich from the Center for Jewish Art, who did his PhD on 17th and 18th century Jewish tombstones in Ukraine. Boris reports that the stone of Esther daughter of Yitzchak, which dates from 1781, is one of the oldest stones in the Jewish cemetery in Kosuv, Ukraine. It shows hands blessing the flames on a seven-branched Menorah and may be one of the earliest stones to bear this image of blessing hands.

Otherwise, the older stones do not seem necessarily to use a specific visual signifier for woman. In the cemetery at Sataniv, for example, the tombstone of Rivkah bat Eliezar Susman, from 1803, bears the mysterious “three hares” carving — three hares joined at the ears an in optical illustion — in a floral medallion flanked by birds and griffons.

Sataniv, Ukraine, 2006 -- woman's tomb with the Three Hares motif

Candlesticks on Stone -- Tombstone Typology

By Ruth Ellen Gruber

I have created a rather cool page on my (Candle)sticks on Stone web site, showing some of the many different types and styles of candlesticks used to decorate the tombstones of women in Eastern Europe.

They range from what I would call “classic” Shabbos candles — two matched candles in individual candle-holders — to multi-branched candelabra (including seven-branched menorahs) of various types. Some of them look as if they could have come off of a household’s shelf. Others  look like classic Menorahs of antiquity. Many are elaborately ornamental but still look like physical objects. But others still are intricate figures that weave and twist and entwine the branches of the menorah and/or the base of the menorah into fanciful convoluted forms. And some clearly combine the imagery of the Menorah with that of the Tree of Life — or, perhaps, of death, as in some examples the branches of the menorah may look like snakes.

Some stones bear images of hands blessing the flames.

In their fascinating and wonderful book Traditional Jewish Papercuts: An Inner World of Art and Symbol (Hanover NH, 2002), Joseph and Yehudit Shadur write that the intricately convoluted menorah forms appear almost exclusively  in  two places — in traditional East European Jewish paper cuts (where they are often dominant compositional elements) and on some East European Jewish tombstones. They appear to represent a development of the “endless knot” motif.
The Shadurs write (pp 170-171):

As far as we could ascertain, neither the convoluted menorah configurations nor the endless-knot motif have ever been considered as distinct visual symbols in Jewish iconography. And yet, they are so common and figure so prominently in East-European Jewish papercuts that they can hardly be regarded as mere decorative motifs.

They theorize that

the metamorphosis of the traditional menorah of antiquity and the Middle Ages into the convoluted, endless-knot configurations appearing in the papercuts coincides with the spread and growing popularization of messianic mysticism and the Kabbalah throughout the Jewish communities of Eastern Europe from the early eighteenth century on [.]

In her  book A Tribe of Stones, Jewish Cemeteries in Poland (Warsaw 1994) Monika Krajewska, a post-World War II pioneer in the study of gravestone imagery — who is also an accomplished paper-cut artist, likens the twisted menorahs to the braiding of Challah loaves — and in a way, that would mean that the images denote two of the three “women’s commandments” (lighting the Shabbos candles, “taking Challah” or removing a piece of dough when baking bread, and Niddah, or keeping menstrual purity).

Candlesticks on Stone -- Videos added to web site

By Ruth Ellen Gruber

I have added some videos to my Candlesticks on Stone web site -- click HERE for the link.

Candlesticks on Stone -- HBI announcement of my fellowship

By Ruth Ellen Gruber

Here's the link to the page on the web site of the Hadassah Brandeis Institute announcing my fellowship as scholar in residence -- click HERE

While at the HBI, Ruth will be working on (Candle)sticks on Stone: Representing the Woman in Jewish Tombstone Art (begun in 2009 with an HBI research grant), which centers on a photographic documentation of the often elaborate tombstones of women in the historic Jewish cemeteries in Eastern Europe, mainly in and around the Bucovina region of northern Romania -- including the Jewish cemetery in Radauti, where some of her ancestors are buried. Focusing on the remarkably varied sculptural representation of candlesticks on these tombs, the project fuses visual documentation and photographic art with research, reportage, reflection and memoir. It encompasses issues of gender, identity and tradition and explores how tradition is (or is not) transmitted. The project is centered on a public web site and blog, but will also result in more traditionally published works.

The Candlesticks web site is http://candlesticksonstone.wordpress.com

Eastern Europe -- (Candlesticks) on Stone

My great-great grandmother's tombstone (center) in Radauti. Photo (c) Ruth Ellen Gruber

By Ruth Ellen Gruber

I arrived at Brandeis University, near Boston, this week to take up a Scholar in Residence fellowship at the Hadassah Brandeis Insitute. For almost the next two months, I will be working on my (Candle)sticks on Stone project about the representation of women in Jewish tombstone art.

It is a multi-faceted project based on the photographic work I have carried out in the Jewish cemeteries of northern Romania, Ukraine, Poland and elsewhere, where the decorative carving on Jewish tombstones is often highly elaborate and scuptural.

I have long been fascinated by the iconography and purely decorative carving on the tombs -- my Candlesticks project focuses on the artistry and symbolism used on women's tombstones. Candlesticks often mark the graves of women, as lighting the Sabbath candles is the only one of the "three women's commandments" that can easily be represented in physical artistic form (the others have to do with observing the laws of Niddah separating men from women during their menstrual periods, and that of Challah, or burning a piece of dough when making bread.)

In addition to organizing and adding more photos to the web site, I will also be researching tombstones and symbolism -- and I will also be investigating the transmission of tradition. The main cemetery I have documented, in Radauti, Romania, is where at least two of my female ancestors are buried, each a pious woman who observed traditions and whose gravestone bears the carving of candlesticks. But, in my generation,  few if any of the descendants of these women regularly light the candles.

Poland -- Piotrkow Trybunalski cemetery photos

I have posted a photo gallery of images of the Jewish cemetery in the Polish town of Piotrkow Trybunalski on the web site of my (Candle)sticks on Stone project. They show women's tombstones and a variety of candlestick images, including broken candles, as well as mythical animals and other imagery and iconography.

(Candle)sticks on Stone -- Introducing My New Web Site

As I reported earlier, I have been awarded the first Michael Hammer Tribute Research Grant by the Hadassah Brandeis Institute for a project called “(Candle)sticks on Stone: Representing the Woman in Jewish Tombstone Art”.

Each year the HBI awards 20 to 30 grants to support academic and artistic projects about Jews and gender. My project was selected by the HBI board as "an exceptional research award" to be dedicated to the memory of Michael Hammer, the husband of one of the board members, who died last year.

My project centers around the richly decorated tombstones of women in the Jewish cemetery in Radauti, Romania, where my own great-grandmother, Ettel Gruber, is buried. Many of these stones bear sometimes very elaborate depictions of candlesticks, and of women's hands blessing the flames.

As part of the project, I have set up a combined web site/blog on which I will post photo galleries and text related to my subject and also post blog entries chronicling my reflections and insights as I progress. There is also room for comment from visitors.

Please visit the site at candlesticksonstone.wordpress.com.

The site is in a continuing state of evolution and development -- so I hope you'll keep coming back!