The widespread assumption that Jewish religious tradition is
mediated through words, not pictures, has left Jewish art with no
significant role to play in Jewish theology and ethics. Judaism and
the Visual Image argues for a Jewish theology of image that, among
other things, helps us re-read the creation story in Genesis 1 and
to question why images of Jewish women as religious subjects appear
to be doubly suppressed by the Second Commandment, when images of
observant male Jews have become legitimate, even iconic,
representations of Jewish holiness. Raphael further suggests that
'devout beholding' of images of the Holocaust is a corrective to
post-Holocaust theologies of divine absence from suffering that are
infused by a sub-theological aesthetic of the sublime. Raphael
concludes by proposing that the relationship between God and Israel
composes itself into a unitary dance or moving image by which each
generation participates in a processive revelation that is itself
the ultimate work of Jewish art.
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