This document provides an overview of the Jewish holiday of Purim, as told through the story in the Book of Esther. It discusses the historical context of the story, summarizes the key events, and explores how Purim is celebrated through traditional customs like reading the Scroll of Esther, wearing costumes, giving gifts to the poor, and enacting parodies of the story. The document also includes images from historical manuscripts and artworks depicting scenes from the Book of Esther and Purim celebrations.

1. THIS MATERIAL
IS FOR
EDUCATIONAL USE ONLY
0

2. THE ART OF
PURIM 14th of Adar
Myrna Teck, Ph. D.
THE JAE CORPORATION, President
1

3. THE ART OF
PURIM
Purim celebrates the collapse of a plot
All the Jews of the Persian Empire were to be killed
This happened in the 5th century BCE
The English text is in bright and colorful letters
2

4. MEGILAT ESTHER-Leonard Baskin, 1984
Baskin, L. (1984). The Five Scrolls. CCAR
The word “Megillah” is Hebrew for “scroll”
It is the name applied to five books of the Hebrew Bible
The books are
Ruth
Song of Songs
Lamentations
Ecclesiastes
Esther
This is because they were once read from separate scrolls
Only the Book of Esther is still read from a scroll today
It is thus commonly referred to as “The Megillah”
God‟s name is never mentioned in this Biblical book
The story is written in the form of a scroll
The scroll was sent to all parts of the kingdom
The Hebrew is also in bright colors and vibrant patterns
it creates a joyous and vibrant visual image
3

5. Baskin, L. (1984). The Five Scrolls. CCAR
The Scroll of Esther is read after an introductory Service
These are the first words of the Megilla or Scroll of Esther
They are written in English, Hebrew and Illuminated Hebrew
The latter has small images of some of the main characters
These are superimposed on the letters
4

6. AHASUERUS-Leonard Baskin, 1984
Baskin, L. (1984). The Five Scrolls. CCAR
The story begins in the days of King Ahasuerus of Shushan
He ruled from India to Ethiopia, over 127 provinces
In the third year of his reign, he gave banquets
These were for the nobles and the people
They were given to show the riches and glory of his kingdom
The artist, Baskin, has a unique idiosyncratic approach
This painting is in watercolor
The king wears a red robe and a vibrant green turban
These colors are opposites on the color wheel
They create a dynamic, energetic image
5

7. VASHTI-Leonard Baskin, 1984
Baskin, L. (1984). The Five
Scrolls. CCAR
His Queen Vashti also gave a banquet
It was for the women in the royal house
On the seventh day, the king was merry with wine
He commanded Queen Vashti to show her beauty
(You can interpret that request as you like!)
He wanted to show her off to the people and to the nobles
But she refused
Then the king said to the sages:
“What law shall be applied to Queen Vashti for not
obeying my command?”
After a suggestion, he requested Vashti to appear before him
Once again she refused
A second suggestion resulted in a royal decree
This ruling banished her from her royal position
It even gave her place to someone else
This advice pleased the king
He sent letters throughout his kingdom to this effect
Then he asked for beautiful young women to come to Shushan
He held a competition for them to vie for the royal position
Baskin used the same colors as he had with Ahasuerus
Perhaps he saw them as being of equal importance
6

8. MORDECAI-Leonard Baskin, 1984
Baskin, L. (1984). The Five Scrolls. CCAR
In Shushan, there was a Jew named Mordecai
He brought up his cousin Hadassah after her parents died
The name “Hadassah” may be translated as “Esther”
Esther was one of the young women brought before the king
She pleased him and received kindness from him
She did not reveal her people or her kindred
Mordecai had cautioned her not to do so
Notice how quiet, war, and soft the colors are
These were clearly chosen by the artist
7

9. ESTHER-Leonard Baskin, 1984
Baskin, L. (1984). The Five Scrolls. CCAR
And the king loved Esther above all other women
He set the royal crown upon her head
He made her queen instead of Vashti
Then the king gave a great banquet for all his nobles
He granted a remission of taxes to the provinces
He gave gifts as befits a king
We associate white with purity
That may have been why Baskin showed Esther in white
He adds the letters of her name in bright red
That is to show the energy of her actions
8

10. HAMAN-Leonard Baskin, 1984
Baskin, L. (1984). The Five
Scrolls. CCAR
Two of the king‟s servants attempted to kill the king
They were unsuccessful
As a result, Ahasuerus promoted Haman
Haman became the chief above all the king‟s other servants
The king then commanded that everyone bow down to Haman
But Mordecai would not bow down
Haman was filled with rage
He did not want to harm Mordecai alone
Rather, he wanted to exterminate all the Jews
This was throughout the kingdom of Ahasuerus
That meant Mordecai and all his people
It all happened in the first month, i.e. Nisan
This was in the 12th year of the reign of King Ahasuerus
They cast PUT—which means „the lot‟—before Haman
Haman told the king that some people don‟t keep his law
He thought that they should be destroyed
The king took the ring from his hand and gave it to Haman
The King told Haman to do as he pleased
Haman commanded that a decree be written
It was done and sealed with the king‟s ring
The letters went out to kill and exterminate all the Jews 9
It was to take place on the 13th day of the 12th month, Adar
Baskin depicts Haman‟s nastiness in his hot, red, angry face

11. MORDECAI IN SACKCLOTH-Leonard Baskin, 1984
Baskin, L. (1984). The Five Scrolls. CCAR
Mordecai heard all that had happened and rent his clothes
He put on sackcloth and ashes
He went to the center of the city and cried bitterly
When Esther heard of this, she, too, was greatly distressed
She sent a message to Mordecai
He replied by telling her what was to happen to the Jews
He asked her to go in to the king
He asked that she appeal to the King on behalf of her people
Baskin shows Mordecai in the colors associated with sadness
What other choice did he have?
His hand, reaching toward the viewer is alive with warmth
10

12. QUEEN ESTHER BEFORE KING AHASUERUS-Judeo-Persian,18th c
Rush, B. (2002) The Jewish Year: Celebrating the Holidays
New York: Stewart Taborri & Chang
Isaac Einhorn Collection, Tel Aviv/Erich Lessing/Resource,NY
Esther knew that it was against the law to ask to see the king
She would risk her life just by asking
She was hesitant to do so
Mordecai said that she would be included in the annihilation
He asked her to consider why she was in her royal role
Perhaps that she may be in it for just this situation
When the king saw Esther, she held favor in his sight
He wanted to know her request
He promised her anything she wanted
He was willing to give her up to half of the kingdom
She asked that the king and Haman come to the banquet
They accepted and did so
Persian art has richly repetitive patterns
they are seen in this image of Queen Esther before the King 11

13. ESTHER AND AHASUERUS-Malcah Zeldis, 1976
McDonough, Y. Z. (1996). Moments in Jewish Life: Folk Art of
Malcah Zeldis. NY: Friedman/Fairfax
At the banquet, the king inquired again about her request
Esther asked them to attend a second banquet the next night
In the meantime, Haman reveled in his newly found power
But Mordecai still vexed him mightily
The king ordered that a gallows be built to hang Mordecai
That night the king could not sleep
He read the book of records of the chronicles of his empire
He discovered that Mordecai was the one to be thanked
Mordecai had discovered the plot by the King‟s 2 servants
At the banquet, the king had a question
He asked what honor was bestowed on Mordecai for this?
Esther said that nothing had been done
When Haman came to the banquet, the king asked him a question
What should be done to the man the king delights to honor?
Zeldis is a 20th century self-taught artist
mShe takes a very naïve and primitive approach to this event
12

14. ARK AND WALLS-Dura-Europos, 3rd c.
Site guidebook. 64 3/16 x 154 5/16” (163 x 392 cm)
Courtesy of Yale University Art Gallery, New Haven
Dura Europos collection
This is from the wall paintings at Dura-Europos
The site was a Roman garrison town on the eastern frontier
An earthquake covered it in the late third century
It was only discovered in the early 1920s
This painting was created in the 3rd c., CE
It shows Eastern influences
The figures are symbolic of the characters in the story
they are not individualized and do not show any emotion
This is in contrast to Western (Roman) aesthetics
13

15. ARK AND WALLS-Dura-Europos, 3rd c.
Site guidebook. 64 3/16 x 154 5/16” (163 x 392 cm)
Courtesy of Yale University Art Gallery, New Haven
Dura Europos collection
This is the Dura-Europos Ark niche and wall paintings
This site was a Roman garrison town on their eastern frontier
An earthquake covered it in the late third century
It was only discovered in the early 1920s
These paintings are the earliest known figurative Artworks
These are based on stories from the Hebrew Bible
14

16. PURIM FESTIVAL-Dura-Europos, 3rd c.
Mazar, B. & Davis, M.(1963). Illustrated History of the Jews.
USA: Israeli Publishing Institute, Ltd.
Esther 9:11-14. West Wall. Lower register.
At the banquet, the king asked Queen Esther for her request
She asked that her life be spared along with her people
She said that she and her people were to be exterminated
The king asked who had done this
Esther said that the adversary and enemy is the wicked Haman
The throne is decorated with lions and eagles
It is from the Biblical description of King Solomon‟s throne
It is not clear exactly which part of the narrative is shown
It is clear that the king is being given a written request
He is shown with his Queen on the raised platform 15

17. MORDECAI AND HAMAN-Harry Lieberman, 1968
Hollander, S. (1991). Harry Liberman: A Journey of
Remembrance, New York: Dutton
The king‟s wrath was not abated until they hanged Haman
They did this on the gallows he had prepared for Mordecai
Then the king took off his ring and gave it to Mordecai
He held out his golden scepter to Esther
It was written that Mordecai commanded the Jews
It was sealed with the king‟s ring
The Jews were glad on the 13th day of the 12th month, Adar
Then Esther asked that Haman‟s ten sons be hanged
and it was done
This 20th c. primitive artist shows various parts of the story
They all appear in one composition
It is somewhat like a medieval painting
16

18. SCENES FROM THE ESTHER STORY-Joseph Zvi Geiger, 1843
Keller, S. (Ed.) The Jews. New York: Hugh Lauter Levin
Oil painting on glass. 21 x 12 13/16” (52.5 x 32 cm)
Israel Museum, Jerusalem. Feuchtwanger Collection
Baruch and Ruth Rappaport donated it to the Israel Museum
The 15th day of Adar was a day of celebration and of gladness
Mordecai wrote all this down
We observe the 14th and 15th of Adar by feasting and joy
He also said that Jews should send portions to one another
And they should send gifts to the poor
And it was done
They called these days Purim
And it continues to this day
Along with the reading of the Scroll of Esther, the Megillah
The artist dressed all the figures in contemporary clothes
17
He used a cell approach as in today‟s cartoons

19. KING AHASUERUS’ SOLDIERS-Yossef Geiger, Safed, 1843
Keller, S. (Ed.) The Jews. New York: Hugh Lauter Levin
Oil painting on glass. 21 x 12 13/16” (52.5 x 32 cm)
Israel Museum, Jerusalem. Feuchtwanger Collection
Baruch and Ruth Rappaport donated it to the Israel Museum
This is a painting on glass
Notice that King‟s soldiers wear Ottoman uniforms
18

20. MEGILAT SETARIM, MASHEHKHET PURIM-Amsterdam, 1734
Grossman, G. (1995). Jewish Art. NY: Hugh Lauter Levin
Paper. Bibliotheca Rosenthaliana, Amsterdam
It is a Purim custom to stage a Purim Parody
This began in medieval times
It is in the festive spirit of the holiday
Purim Shpieler, or Players, went from door to door
They enacted the Purim story in farcical fashion
This tradition was most active in the 17th-19th centuries
Sometimes more elaborate plays were presented in Yiddish
The players often went from shtetl to shtetl
Their productions were very popular
The story of Esther is the most popular subject for these
It was often staged with a contemporary or community twist
Local figures were substituted for the originals
This lent humor to the productions
Proceeds from the performances went to charity
This was in accordance with the requirement of Jewish law
The Scroll of Esther says to give “gifts to the poor”
MASHEKET PURIM is a parody on the Talmud
The text is on the theme of drinking wine
It was written in the 14th century
Levi ben Gershom wrote the Megilat Setarim then
He was from Provence 19
It is known as the “Scroll of Secrecy”
Revelers drink until they can‟t tell Mordecai from Haman

21. PURIM CELEBRATION-Eretz Israel, 19th c.
Rush, B. (2002) The Jewish Year: Celebrating the Holidays. New
k: Stewart Taborri & Chang Collection of Isaac Einhorn, Tel
v/Erich Lessing/Art Resource, NY
The celebration of this merry holiday in unique
Jews generally do not drink alcohol
The only exception is for ceremonial wine
On Purim, they are urged to drink “ad d‟lo yada”
That is, until they can‟t the difference between
“Cursed be Haman” and
“Blessed be Mordecai”
This illustration is specific to its time and place
Notice the fur brimmed streiml, a Hasidic 17th c hat
Notice, too, the middle eastern Fez with tassel
20

22. PURIM MASK-Ita Aber, 1977-78
Rush, B. (2002) The Jewish Year: Celebrating the Holidays.
NY: Stewart Taborri & Chang. Gift of the Artist
The Jewish Museum, NY
Yeshiva students would do imitations of their rabbis/teachers
A yeshiva Purim highlight was the reading of “Purim Torah”
These are frivolous dissertations on the Talmud and law
They often used witty parodies of Talmudic texts
One example is the non-existent tractate “Purim”
A special Purim guide was also composed and publicly read
It was a parody of the Passover Hagaddah and Seder
Satirical poetry was also sung at these yeshivah festivities
The poems were set to simple repetitive tunes
Purim kings were crowned with pomp and circumstance
They took oaths to observe the laws of the prophet Habakkuk
Habakkuk was also known as “the bottle”
In Hasidism, the Purim Rabbi was chosen on the first of Adar
He conducted parodies of Hasidic rabbinic discourses
He did this while sitting aside the Hasidic Rabbi
21

23. PURIM WINE JUG-Syria, 19th c.
Grossman, G. (1995). Jewish Art. NY: Hugh Lauter Levin
Etched glass. 7 7/8 x 5 1/2 in. (20 x 14 cm)
Hebrew Union College, Skirball Museum, Los Angeles
Kirschstein Collection
This is a Purim jug for wine, in etched amber glass
The inscription on the neck is in Arabic
On the body it‟s in Hebrew
Only a few bottles of this type remain
Several hanging lamps of etched glass have also survived
The inscription on this bottle is the Kiddush for the Sabbath
Around the neck, the Arabic writing appears to be decorative
Syrian Jewish glassblowers worked in the 17th and 18thc
The glassworker may have been illiterate or not jewish
This is thought due to the misspellings
22

24. GROGGER-Vienna, Austria, 1826
Snyder, J. (2004). The Jewish World 365 Days.
NY: Harry N. Abrams, Inc
Congregants turn noisemakers to drown out Haman‟s name
During the reading of Megilla Esther in synagogue on Purim
He symbolizes the various enemies of the Jewish people
The Russian grogger depicts Haman‟s hanging for his crimes
There is a clown‟s hat on the top of the Viennese noisemaker
23

25. GROGGER-Russia, 19TH C.
Korn, I. (1996). A Celebration of Judaism in Art.
New York: Todtri
Rush, B. (2002) The Jewish Year: Celebrating the Holidays.
NY: Stewart Taborri & Chang. Silver.
The Jewish Museum, New York/Art Resource, NY.
Notice that Haman is hung in the roundel of this grogger
24

26. GROGGER-Cyprus, 1947
Barnavi, E. (Ed.)(1992). Historical Atlas of the Jewish People.
NY: Knopf
Purim noisemakers are sounded by children (and some adults)
They make noise to drown out the name of Wicked Haman
That is when the Scroll of Esther is read
This grogger was made in a detention camp in Cyprus, 1947
25

27. HAMAN AND HIS TEN SONS-Northern Germany, mid-14th c.
Sassoon Collection, Letchworth, England
This image is of Haman and his 10 sons hanging from a gallows
Mordecai prepared the gallows
A Jewish artist pictured this scene
This was the popular tradition in northern Germany, mid-14th c.
This is a page from the De Castro Bible
This Bible contains a manuscript of the bible & the 5 Scrolls
The weekly portion from the Prophets are included
Nathaniel the scribe wrote the Bible
Levi ben David vocalized it in January 1344
26

28. HANGING HAMAN’S SONS-Leonard Baskin, 1972
Baskin, L. (1984). The Five Scrolls. CCAR
Seven hundred years later, the same topic is depicted
The artist „hangs‟ Haman‟s sons amidst the text
The modernist approach informs his aesthetic
27

29. PURIM-Minhogimbukh, Venice, 1601
Kosofsky, S. M. (2004). The Book of Customs. San Francisco:
Harper Collins
The Purim revelers wear Venetian Carnavale costumes
They were worn in the commedia Dell‟arte
28

30. PURIM CELEBRATION- Shlomo Maduro, Amsterdam,1707-23/68
Kanof, A. (1973). Jewish Ceremonial Art. NY: Harry Abrams
Another custom on Purim was the burning of Haman in effigy
It was a relief from the constant oppression of the Jews
This custom dates back to Talmudic times
It happened in Macedonia, Byzantium, medieval Germany, Italy
These celebrants are dressed in jester costumes
They are consistent with a Royal Court!
29

31. THE MUSIC ACADEMY HEBREW BALL-NY, March 14, 1865
Korn, I. (1996). A Celebration of Judaism in Art. NY: Todtri
American Jewish Historical Society, Waltham, MA
This is an illustration of a Purim Ball
It was held on March 14, 1865 at the Academy of Music in NY
It was an extravagant example of the masquerade parties held
Charity balls were popular in mid-19th century America
The Purim Ball was a highlight of the Jewish social season
Notice the partygoer dressed as a Hanukkah dreidl
This illustration appeared in a Massachusetts publication
Interest by people outside NYC indicates its importance
30

32. PURIM BALL-New York, 1881
Grunberger, M. (Ed.) (2004). From Haven to Home. Wash, DC
Library of Congress
This is an announcement for the 1881 Purim Ball in NYC
Notice that the proceeds will benefit the Building Fund
It helped the Hebrew Benevolent and Orphan Asylum Society
31

33. PURIM BALL-Munich, Germany, 1932
Gidal, N. T. (1998). Jews in Germany from Roman Times to
Weimar Republic. Gutersloh: Konemann
This is the Jewish Choral Society of Munich, Germany
The photograph was taken in 1932
They are all in costume for their Purim celebration
It is not prevalent for American adults to dress in costume
It was so in the past and in other parts of the world
32

34. PURIM CARNIVAL-Tel Aviv, 1930s
Barnavi, E. (Ed.) (1992). Historical Atlas of the Jewish People
NY: Alfred A. Knopf
The new culture in Eretz Israel was rooted in the Haskalah
It was nourished on nationalism and modernization
It emphasized its difference from the old Yiddish culture
Nostalgia was the foundation for the approach of E. Europe
This poster is clearly in the modernist idiom
Flat pattern, Clear, clean shapes characterize it
It advertises a Purim carnival in Tel Aviv in the 1930s
33

35. PURIM ARRIVES-Mea Shearim, 1980s
Snyder, J. (2004). The Jewish World 365 Days.
NY: Harry N. Abrams, Inc
In Jerusalem, Purim is celebrated on Shushan Purim
It is the fifteenth of Adar
This photograph is of a typical Hasidic family in Jerusalem
The children are dressed up and hold MISHLOAH MANOT
Those are traditional gifts of food
Father wears his fur STREIMEL hat
It is usually worn on the Sabbath and festivals
34

36. PURIM WALL DECORATION-Sara Eydel Weisssburg
Jerusalem, l.19th c
Perforated paper embroidered with wool and silk
67 x53 cm
Gift of Mrs. Pearl Schwartz, s1337
One can follow the action as in a comic strip
35

37. CELEBRATION-Marc Chagall, 1916-1918
Harshav, B. (2006). Marc Chagall and the Lost Jewish World
NY: Rizzoli
Chagall was inspired by childhood memories of his wife, Bella
He set this Purim celebration in a typical Russian village
Children bear gifts of food for friends, family, and neighbors
The custom of giving gifts survives today among some Jews
They send friends cakes, fruits and „Hamantaschen”
The latter is a German word meaning “Haman‟s pockets”
These are triangular shaped pastries
They are filled with fruit, cheese, or poppy seeds
Today these gifts are often sent on paper plates
In the past special plates were used
They were often made of pewter and decorated
They had quotations or scenes from the Book of Esther
Emphasis was placed especially on the Triumph of Mordechai
Some congregations had collections cups used for Purim
36

38. PURIM WALL DECORATION-Maier Schwartz, Vienna, 1929
Printed on paper, mounted on cardboard, 35.9 x 45.7 cm.
Gift of Dr. Harry G. Friedman, F 4308
37

39. FEAST OF LOTS: PURIM-Chaim Gross, 1967
Soltes, A., Abrams, J. & Blecher, A. (1968). The Jewish
Holidays, Customs, and Traditions by Chaim Gross. NY:
Associated American Artists
Chaim Gross was primarily a sculptor
His light-hearted depictions of Purim capture the spirit
38

40. DRESSED FOR PURIM-Malcah Zeldis, 1985
McDonough, Y. Z. (1996). Moments in Jewish Life: Folk Art of
Malcah Zeldis. NY: Friedman/Fairfax
A childlike simplicity characterizes this joyous painting
Purim symbols are evident
These are the grogger, mask, and costumes
Zeldis‟ chose vibrant primary colors: red, yellow, blue
These create a stimulating and happy environment for Purim
39

41. SHALACH MANOT-Malcah Zeldis, 1995
McDonough, Y. Z. (1996). Moments in Jewish Life: Folk Art of
Malcah Zeldis. NY: Friedman/Fairfax
Zeldis used high intensity bright colors in a naïve style
She shows the tradition of giving gifts to others
The children in the two families wear Purim costumes
An elderly man waits for them to join him at the table
40

42. THE FESTIVAL OF PURIM
Christian Boltanski, 1988
Van Voolen, E.(2006).Jewish Art and
Culture. Munich: Prestel Verlag. 10
Black and white and color
photographs. 41 Lights, 1 Tin box,
210 X 120. cm (82 11/18 x 47 1/4”)
the Israel Museum, Jerusalem,
Israel. Gift of the artist in memory of
Jacques Ohayon.
Memory and remembrance are central concepts in Judaism
They are also at the core of most jewish festivals
On Purim, Jews remember their narrow escape
They remember the occasions on when Haman did prevail
That is, a symbolic Haman—as he has had many successors
The artist deals with the darker aspects of this festival
These are children at a Purim party in Paris Jewish school
These photographs were taken in 1939
They were taken just before most of them died
They did not die of natural causes, but were murdered
Their festive costumes bestow an individual identity
This would be taken away from then not longer after Purim
For Boltanski, photographs possess the connotation of death
They are reminiscent of the still-preserved clothing
The items Jews removed before entering the gas chambers
He says: “They have in common that they are simultaneously
present and absent”
The lights are associated with the memorial lights Jews burn
Boltanski‟s photographs are blurred and anonymous
They are symbols of the Holocaust and of death in general
Boltanski was born in Paris, 1944,when it was liberated
His Jewish father came out of hiding to register his birth
His non-Jewish mother had hidden his father 41
Christians may chose to be Jewish but Jews could not

43. PURIM PLATES-Amsterdam, 1785
Grossman, G. (1995). Jewish Art. NY: Hugh Lauter Levin, Inc
Faience. Diameter of each: 9 5/8 in. (24.4 cm). Hebrew Union
College Skirball Museum. Kirschstein Collection
These plates honor Rabbi Moses ben Aaron and his wife Bayle
Their daughter and son-in-law commissioned the plates
This highlighted the custom of exchanging gifts on Purim
They are dated 13th of Adar [5] 545 (1785)
These plates all have the same shape and border design
They have the same interior frame for Hebrew phrases
42

44. SHALACH MANOT PLATE-Les Islettes, France, 18th c.
Grossman, G. (1995). Jewish Art. NY: Hugh Lauter Levin
Korn, I. (1996). A Celebration of Judaism in Art. NY: Todtri
Snyder, J. (2004). The Jewish World 365 Days. NY: Abrams
Faience. The Israel Museum, Jerusalem
One plate is in Les Islettes (Meuse); Musee de Cluny, Paris
Gift of Eliahu Siddi
Given in memory of his parents, Raphael and Hanna Sidd
The border text is from the Purim mandate in Esther 9:22
It is to “send portions one to another and gifts to the poor”
In the center is a humiliated Haman
He wears his signature three-cornered hat
He leads Mordecai, wearing Haman‟s royal cloak, on horseback
The figures are identified by name and by the verse:
“Thus shall be done to the man whom the king
delights to honor.” (Esther 6:11) 43

45. SHALACH MANOS PLATE-1813
Grossman, C. (1989). A Temple Treasury. NY: Hudson Hills
Master: [?]SRF Zinn. Pewter. Cast and rolled. Engraved
Diameter 8 3/8 in; (21/3 cm). Width of rim 1 3/8 in. (3.5 cm)
Mark: Master. Inscribed on rim: Sending portions to one
another and gifts to the poor (Esther 9:22)
In the year [5] 573, according to the sh[ort] c[ounting] (1813)
There is a six pointed star inscribed with circle containing
overlapping circles, petals, and three interlocking fish
Between outer corners of star, birds, and lilies
Swaab, 1984. (CEE85-4)
The Hebrew word for “to the poor” has a playful misspelling
It is based on a change in the Hebrew grammatical root
The change is to one that means, “to bake”
It stressed baked goods, the usual gift on Purim
A local engraver did the crosshatched engraving
He bought the blank plate from a Christian pewter artisan
This is because Jews were not allowed in the pewter guild
Their artistry was limited to decoration
The designs usually came from books
Here the tooled lettering and design imitate embroidery 44
The intertwined fish may be that the owner‟s name was Karp

46. ESTHER SCROLL CASES-Middle East, 17-19th c.
Keller, S. (Ed.) The Jews. NY: Hugh Lauter Levin Assoc
From Yemen, Turkey, Persia, Morocco
Sir Isaac/Lady Edith Wolfson Museum
Hechal Shlomo, Jerusalem
The Megillot are as starkly plain as the Torah scroll itself
Family-owned megillot are ornamented
Jewish Artists generally did the illuminations
The dramatic story of Purim lends itself to illustration
Master illuminators and folk artists illuminated it
There are no decorated Megillot before the sixteenth century
This does not mean they did not exist before that time
It simply means that either they did not survive
Or they haven‟t been discovered yet!
Decorated Megillot were rare in Oriental Jewish communities
Figurative art was almost never seen on their Megillot
This was due to the iconoclasm of the Muslims mainstream
Italian 16-18th c. megillot are considered particularly special
The scrolls were often kept in cases made of carved wood 45
Decorated silver cases had scenes from the Book of Esther
These were often gifts from the bride to her bridegroom

47. ESTHER SCROLL- Salom D‟Italia, Amsterdam, 17th c
Grossman, G. (1995). Jewish Art. NY: Hugh Lauter Levin, Inc
Etching and manuscript on parchment
4 7/8 x 71 5/8 in. (12.4 x 181.9 cm)
Jewish Historical Museum, Amsterdam
Salom d‟Italia was born in Mantua
He came from a well-known family of printers
After Austria invaded, Jews were expelled from the city
He spent some time in Venice
He ultimately settled in Amsterdam
He made several different designs of Esther scrolls
A portal type design influenced many other artists
In this Megillah, the text is written in round medallions
The architectural elements are not prominent
They are part of the repeating motif between the roundels
They are accompanied by vases of flowers and rabbit heads
Above each medallion a lion or bear menacingly eyes a lamb
The story of Esther appears in the panels beneath the text
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48. ESTHER SCROLL-Italian, Walters Art Museum, e. 17th c.
This is an Italian Esther Scroll
It is from a nearby Museum, The Walters, in Baltimore
The design of megillot is frequently in segments
It is parallel to Oriental scrolls
They are intended to be opened to only one section
This is to encourage contemplation and comprehension
so, too, this Megillot Esther scroll
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49. ESTHER SCROLL-Aryeh Loeb ben Daniel of Guria, Italy, 18th c
Grossman, G. (1995). Jewish Art. NY: Hugh Lauter Levin, Inc
Aryeh Loeb ben Daniel of Guria, Italy, mid-18th c
Ink on parchment. Height: 9 in. (22.9 cm).
Hebrew Union College, Skirball Museum, Los Angeles
Kirschstein Collection, formerly the Frauberger Collection
Esther and Mordechai are shown between the text columns
A Polish scribe-artist, living in Italy, created this scroll
Mordecai wears the regal garb of contemporary nobility
birds and “Esther Story” vignettes are in the upper border
Scenes from the story are in the small lower medallions
Lions flank these
The artist combined folk images of Poland with Italian curves
He achieved an integrated composition
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50. ESTHER SCROLL-Germany, early 18th c.
Grossman, G. (1995). Jewish Art. NY: Hugh Lauter Levin, Inc
Pen and ink, and gouache on parchment
10 x 117 in. (25.4 x 297.2 cm)
The Israel Museum, Jerusalem
This artist is the most famous one in the world: Anonymous
There are three other known scrolls done in a similar hand
The characters in the Purim story wear 18th c. dress
Zodiac roundels frame the text
A man points to Pisces, the sign of the Hebrew month of Adar
This is the month when Purim is celebrated
The zodiac may refer to the lots cast to select the month
This is when Haman wanted to annihilate the Jews
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51. ESTHER SCROLL--Corfu, Greece, 1708.
Korn, I. (1996). A Celebration of Judaism in Art. NY: Todtri
Ink and tempera on parchment; 46 3/4 x 10 1/4 in(120 x 26.5 cm)
Israel Museum, Jerusalem
Megillah Esther is the only decorated book of the bible
Traditionally, human figures are shown throughout
Corfu was the apex of the decoration of 18th c., Ketubbot
It also was the source of many Esther Scrolls
Italian aesthetics influenced their imagery
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52. ESTHER SCROLL-Italy, c. 1700.
Kaniel, M. (1989). A Guide to Jewish Art. NY: Allied Books.
Ink and gouache on parchment, carved ivory roller
Collection of the B‟nai Brith Klutznick Jewish Museum
This Megillot is barely two inches high
It has scenes from the Purim story
These celebrate the triumph of virtue and faith
They support courage over wickedness, and cowardice
It may have been intended for the use of a traveling merchant
Italian Esther Scrolls use many colors and column dividers
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53. ESTHER SCROLL-Italy, c. 1700
Kaniel, M. (1989). A Guide to Jewish Art. NY: Allied Books
Ink and gouache on parchment, carved ivory roller
Collection of the B‟nai Brith Klutznick Jewish Museum
This Megillot is barely two inches high
It has scenes from the Purim story
These celebrate the triumph of virtue and faith
They support courage over wickedness, and cowardice
It may have been used by a traveling merchant
The stylistic approach is somewhat naïve
The illustrator does not employ linear perspective
It was strongly characteristic of Italian work
Especially so after the Renaissance, in the l.15th-e.16th c.
Since Jews were not allowed to be members of the guilds
This illustrator may have been a Jewish folk artist
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54. SCROLL OF ESTHER-Northern Italy, mid-18th c.
Grossman, G. (1995). Jewish Art. NY: Hugh Lauter Levin, Inc
Ink, gouache, gold and silver paint on parchment
21 1/2 x 202 5/8 in. (54.6 x 514.7 cm)
Michael and Judy Steinhardt Collection
This Megillah‟s composition relates to Ketubbot
Both often use an architectural approach
Northern Italian illuminated marriage contracts are similar
The text is framed in a highly decorated archway
Allegorical figures and narratives appear in each manuscript
Below the text are additional scenes from the Esther story
Spiraling columns are a reminder of Boaz and Joachim
Those columns were in front of King Solomon‟s Temple
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55. ESTHER SCROLL-Italy, early 18th c. Illuminated parchment
Collection of the B‟nai Brith Klutznick Jewish Museum
Kaniel, M. (1989). A Guide to Jewish Art. NY: Allied Books
A colonnade frames the handwritten text
These are inside rectangular areas
Depictions of the main characters in the Book of Esther
These are found at the capitals of the columns
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56. ESTHER SCROLL (detail)-Italy, e. 18th c. Illuminated parchment
B‟nai Brith Klutznick National Jewish Museum Collection
Kaniel, M. (1989). A Guide to Jewish Art. NY: Allied Books
A vase with flowers surmounts each image
Actors‟ masks are below each column
Between the columns are depictions from the story of Purim
These are above and below the text
This view continues the Esther story
Considering its small size, how many people read this scroll?
Were they seated around a table?
Was it just read by adult men?
Was it held during a synagogue service
Further research is needed to answer these questions
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57. ESTHER SCROLL-Italy, 18th c.
Gold and metalwork with turquoise
B‟nai Brith Klutznick National Jewish Museum Collection
These illuminations are only at the beginning of the reading
Spiral columns separate each segment
Again there are visual references to Boaz and Joachim
Those two columns stood at the entrance to the Temple
This case was probably done by a jewish craftsman
He may have lived in Arabic lands
Those Jews were especially known for their filigree work
They also were experts in setting cabachon stones
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58. ESTHER SCROLL-Eastern Europe, e. 19th c.
B‟nai Brith Klutznick National Jewish Museum Collection
Esther Scrolls contain the biblical Book of Esther
Narrative scenes and decorative motifs adorn the scroll
The scroll is fully unrolled prior to reading
Only then does the reader chant the text
This Esther case is intricately decorated with repousse
Bas-Relief is the technique to create raised images
Pounding on the reverse side creates the dimension
A globular form surmounts the top of the case
It resonates with royal crowns and Onion domes
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59. ESTHER SCROLL AND SHEET OF BLESSINGS-Izmir, 1873
Grossman, G. (1995). Jewish Art. NY: Hugh Lauter Levin
Silver, parcel gilt; ink on parchment
Height: 11 3/4 (30 cm); diameter: 1 3/89 (3.5 cm)
The Gross Family Collection, Tel Aviv
Megillah and gold filigree case were a wedding gift
They were for the son-in-law of a wealthy Izmir merchant
This type of filigree originated in Izmir
This Megilla is from the late 19th c. in Turkey
The highly patterned meticulous border motif is repeated
It is in the larger portal archways, which divide the text
The blessing recited before the reading is at the beginning
A bouquet of flowers separates it from the story
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60. ESTHER SCROLL IN LEATHER CASE-Germany, 1834
Grossman, C. (1989). A Temple Treasury. NY: Hudson Hills
Vellum. Height 4 5/8 in. (11.2 cm). Text columns 3 7/16” x 2 5/8”
6.7 cm), 27 lines
Case: Leather, covered cardboard, tooled
Length 4 ½” (11.5 cm), diameter 1 1/4” (3.2 cm) Inscribed: On the
ay of my beloved husband, Franz Koritschoner, 1832
Gift of Mrs. Louise Brandeis Popper, Maternal Great-
ddaughter of the Original Owner, 1982
(CDD 82-111)
This is a “Ha-Melekh” (or “The King”) scroll
It was copied so the word “King” opens every column
This emphasis is an oblique reference to the King of Kings
It was a way of instilling God‟s name in the text
The scroll is written on vellum
It is the skin of an unborn calf or goat
It is a much finer surface than parchment 59
It is of much higher quality

61. FLOWERED
PURIM CASE AND
ESTHER SCROLL-E.
Europe, 1840
Grossman, C. (1989). A
Temple Treasury. NY:
Hudson Hills
Gift of Mr. And Mrs. Henry M.
Toch, 1928
The silver case bears a Vienna 1840 hallmark
Double-headed eagle in a circle indicates an Austrian origin
The fine Ashkenazic scroll is in the Ha-Melekh style
The name of God does not appear in the text
The letter „shin‟ is attached to „hay‟ at the top of the columns
This suggests ha Shem, one of the names of God
It is not in the scroll But always remembered
This cylindrical container has embossed and chased panels
They are of roses and petalled flowers in high relief
They alternate with unadorned flat bands
Rounded beaded bands are at the top and bottom border
There is a cast flower-shaped case handle at bottom
At the top, there is an open flower finial
It is one of the names of God
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62. ESTHER SCROLL-Ze‟ev Raban, Jerusalem, 1927
Altshuler, L. (1988). In The Spirit of Tradition, Wash., DC
B'nai B'rith Klutznick National Jewish Museum
Architectural frameworks are common on Esther scrolls
They are along with illustrations of scenes in the story
Artists probably used book or stage sets as models
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63. MEGILLA CASE-Bezalel, Eretz Israel, 1950s.
Altshuler, L. (1988).In The Spirit of Tradition, Wash., DC
B'nai B'rith Klutznick National jewish Museum
Jews read the Scroll of Esther to celebrate Purim
Jews are obligated to hear the Megillah read aloud.
It is read from an unadorned handwritten parchment scroll
This is an annual commemoration of their victory
Congregants follow along from embellished versions
Some have elaborate carved wood, silver, or ivory cases
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64. MEGILLOT CASE-Smilovici, 20th c.
Grossman, C. (1989). A Temple Treasury. NY: Hudson Hills
MASTER: Moshe Smilovici, Tel Aviv, 1950s
Silver, niello, appliqué, and engraving: semiprecious stones
Height 7 3/4 in. (19.7 cm). Scroll: Parchment: handwritten
Height 2 3/4 in.(7 cm).Text columns 2 1/8 x 3 1/8 in. (5.4 x 7.9cm)
Gift of Arthur Diamond in memory of Estelle,1978/CEE 783
Lucica Koffler Smilovici identified the case as her husbands‟
His name was Moshe Smilovici and he lived from 1912-1962
The case clearly identifies itself by its exuberant style
Smilovici worked with old silver for collage
He usually added set colored stones to enrich the surface
This is one of his best works, characterized by:
Sophisticated foolish charm
Juxtaposition of unrelated materials
Use of color with silver
Slightly askew dimensions
The scroll was written in 1938
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65. GREAT MOURNING-Ze‟ev Raban, Tel Aviv, 1947
Raban, Z. (1982). Raban Remembered. Yeshiva University Museum
Exhibition. NY. “Sinai”, Tel Aviv, publisher
Photographed by Allan Rokach
Yeshiva University Museum, NY
This is an illustration to a Book of Esther (4:3), 1947
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66. ARDASIR BOOK-Persia, 17th c.
Grossman, G. (1995). Jewish Art. NY: Hugh Lauter Levin, Inc.
Paper. 9 7/8 x 7 5/8 in. (25.1 x 19.4 cm)
The Jewish Theological Seminary of America, NY
This is an Ardasir Book, Judeo-Persian book
The Esther story is interwoven into a classic 10th c. tale
The latter is about the history of Persia
The heroes are Ardasir, who is identified with King Ahasuerus
Here, the king seeks a new queen after banishing Vashti
The Ardasir book is not a Megillah
It is a manuscript composed in Judeo-Persian in 1332
The Jewish poet Maulana Sahin composed it
His work was based on the Sahnameh, written in the 10th c.
That is a classic work of Persian culture
The 1st chapter of the Ardasir Book is from the Sahnameh
The Esther story is combined with Jewish and Muslim legends
65
This demonstrates the integration of cultural traditions

67. PURIM DOLLS-Yemen, 1930s
Snyder, J. (2004). The Jewish World 365 Days.
NY: Harry Abrams
Wood, rags, plastic, metal37 x 24.5, 39 x 29.5 cm
Permanent Loan of Salman Schocken, Tel Aviv
The Israel Museum. Photograph by David Harris
These Purim dolls are from Yemen
They are made of wood and rags
They represent Haman and Zeresh, the villains in the story
Young boys pulled them through the streets in a cart
Laughter, noisemakers and toy guns accompanied them
Eventually the dolls were kicked off or burned
They symbolically did this to „smite Haman‟
The custom was also known in other Jewish communities
66

68. PURIM BREAD
Snyder, J. (2004). The Jewish World 365 Days.
NY: Harry N. Abrams, Inc.
Photograph: Israel Museum/Orpa Slapak
On Purim, Jews send each other gifts of food
In Morocco these foods included a special bread
It was called KBEBZA DI PURIM or BOYOZA
The bread was baked in various shapes and forms
However, it always contained eggs in their shell
The number of eggs are the no. of the children in the family
They also symbolized the eyes of Haman
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69. PURIM SHIVITI-Kurdistan, 19th c.
Kaniel, M. (1989). A Guide to Jewish Art. NY: Allied Books.
Paper. Height: 13 inches (33 cm.)
This Shiviti has Songs and prayers relating to Purim
It also features a depiction of Psalm 67 in micrography
Micrography is the writing a text in very tiny letters
These form the configuration of shape of some object
Many people consider this the only unique Jewish art style
Thus, the psalm forms a seven-branched menorah
This Psalm
Acknowledges God‟s presence
Asks God to show us favor
It states that He should be revered to the ends of the earth
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70. In the Art World, it is said that the love of:
art cannot be TAUGHT
It can only be CAUGHT!
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71. I hope I‟ve made
The Art of
Purim
contagious to you today!
70