Movement, smell, vision, and other perceptual experiences are ways of thinking and orienting ourselves in the world. And yet the appeal to experience as resource for theology, though a significant shift in contemporary scholarship, has seldom received nuanced investigation. How do embodied differences like gender, race, disability, and sexuality highlight theological analysis and connect to perceptual experience and theological imagination? In Meaning in Our Bodies, Heike Peckruhn offers historical and cultural comparisons, showing how sensory experience may order normalcy, social status, or communal belonging. Ultimately, she argues that scholars who appeal to the importance of bodily experiences need to acquire a robust and nuanced understanding of how sensory perceptions and interactions are cultural and theological acts of making meaning.

Antique Jewish art visualized the idea that the essence of God is beyond the world of forms. In the Bible, the Israelites were commanded to build sanctuaries without cult statues. Following the destruction of the Second Temple, Jews turned to literary and visual aids to fill the void. In this accessible survey, Shulamit Laderman traces the visualizations of the Tabernacle implements, including the seven-branch menorah, the Torah ark, the shofar, the four species, and other motifs associated with the Hebrew Bible and the Jewish calendar. These motifs evolved into iconographic symbols visualized in a range of media, including coins, funerary art, and synagogue decorations in both Israel and the Diaspora. Particular attention is given to important discoveries such as the frescoes of the third-century CE synagogue in Dura-Europos, mosaic floors in synagogues in Galilee, and architectural and carved motifs that decorated burial places.

Eliezer-Zusman of Brody: The Early Modern Synagogue Painter and His World discusses Jewish cultural and artistic migration from Eastern Europe to German lands in the first half of the eighteenth century. Focusing on Eliezer-Zusman of Brody, who painted synagogues in the Franconia area, hitherto neglected biographical aspects and work methods of religious artisans in Eastern and Central Europe during the early modern period are revealed. What begins as a study of synagogue paintings in Franconia presents an unexpectedly intensive glimpse into the lives and sacred products of painters at the periphery of Jewish Ashkenazi existence.