A Portrait of the Kabbalist as a Young Man: Count Joseph Carl Emmanuel Waldstein and His Retinue
As a point of departure, this paper takes a portrait of Count Joseph Carl Immanuel Waldstein on which he is portrayed holding a copy of the Zohar. The portrait is a highly unusual (and possibly unique) representation of a Jewish book in Western art: it is possible to recognize a specific edition of...
| Main Author: | |
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| Format: | Electronic Article |
| Language: | English |
| Check availability: | HBZ Gateway |
| Journals Online & Print: | Drawer...
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| Fernleihe: | Fernleihe für die Fachinformationsdienste |
| Published: |
Penn Press
2016
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| In: |
The Jewish quarterly review
Year: 2016, Volume: 106, Issue: 4, Pages: 521-576 |
| Further subjects: | B
Sabbatai Tsevi
B Sabbatianism B Waldstein B Messianism B Eibeschütz B Kabbalah B Casanova B Zohar B Political Theology B Hebrew script in Western Art |
| Online Access: |
Volltext (JSTOR) Volltext (lizenzpflichtig) Volltext (lizenzpflichtig) |
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| 520 | |a As a point of departure, this paper takes a portrait of Count Joseph Carl Immanuel Waldstein on which he is portrayed holding a copy of the Zohar. The portrait is a highly unusual (and possibly unique) representation of a Jewish book in Western art: it is possible to recognize a specific edition of the work and an exact passage taken from it. The paper addresses a question as to why this particular passage of the Zohar was selected. An interpretation of this passage within the framework of Sabbatian kabbalah is proposed. The paper discusses the milieu of the count and his contacts with Jewish kabbalists. In particular, the relationship between Count Waldstein and Wolf Eibeschütz, the youngest son of Rabbi Jonathan Eibeschütz is analyzed. The portrait is interpreted as a pictorial representation of Sabbatian political theology putting forward the idea of the eschatological conflict between Islam and Christianity paving the way for the acceptance of the messiah Sabbatai Tsevi by non-Jews. | ||
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