TY  - CHAP
AU  - Rajner, Mirjam
PY  - 2022
UR  - https://www.jevrejskadigitalnabiblioteka.rs/handle/123456789/2692
AB  - In 1907, David S. Pijade (1881-1942), a young poet, writer, and translator of Sephardic Jewish origin from Belgrade, published a lengthy text entitled “Serbian Renaissance” in the cultural review "Pregled", founded and edited by him and Velimir Rajić. Pijade composed the text himself to introduce a Serbian audience to novel ideas, opening a series in what would prove to be an innovative literary and artistic, albeit short-lived, journal. The essay “Serbian Renaissance” can be understood as a wake-up-call that Pijade addressed to his future readers, young Serbian intellectuals, in whom he hoped to awaken an appreciation for the autochthone Serbian folk culture and artistic heritage, and thus arouse their national pride. Pijade, referring to himself as a native Serb, opened by criticizing the so-called city intelligentsia who, according to him, spoil the natural ingenuity and creativity of the simple folk.
AB  - Godine 1907. David S. Pijade (1881-1942), mladi pesnik, pisac i prevodilac sefardskog jevrejskog porekla iz Beograda, objavio je opširni tekst pod naslovom „Srpska renesansa” u časopisu za kulturu „Pregled”, čiji je osnivač i urednik Velimir Rajić. Pijade je sam komponovao tekst kako bi srpsku publiku upoznao sa romanesknim idejama, otvarajući seriju u nečemu što će se pokazati kao inovativan književno-umetnički, iako kratkotrajan časopis. Esej „Srpska renesansa” može se shvatiti kao uzbuna koju je Pijade uputio svojim budućim čitaocima, mladim srpskim intelektualcima, u kojima se nadao da će probuditi poštovanje prema autohtonoj srpskoj narodnoj kulturi i umetničkom nasleđu i na taj način pobuditi njihov nacionalni ponos. Pijade je, nazivajući sebe starosedeocem Srbinom, započeo kritiku takozvane gradske inteligencije koja, po njemu, kvari prirodnu domišljatost i kreativnost prostog naroda.
PB  - Ljubljana : Založba ZRC
T2  - Jewish-Slavic cultural horizons: essays on Jewish history and art in Slavic lands
T1  - The Pijade brothers and the “Serbian Renaissance”
T1  - Braća Pijade i „srpska renesansa“
SP  - 455
EP  - 470
UR  - https://hdl.handle.net/21.15107/rcub_jdb_2692
ER  - 

@inbook{
author = "Rajner, Mirjam",
year = "2022",
abstract = "In 1907, David S. Pijade (1881-1942), a young poet, writer, and translator of Sephardic Jewish origin from Belgrade, published a lengthy text entitled “Serbian Renaissance” in the cultural review "Pregled", founded and edited by him and Velimir Rajić. Pijade composed the text himself to introduce a Serbian audience to novel ideas, opening a series in what would prove to be an innovative literary and artistic, albeit short-lived, journal. The essay “Serbian Renaissance” can be understood as a wake-up-call that Pijade addressed to his future readers, young Serbian intellectuals, in whom he hoped to awaken an appreciation for the autochthone Serbian folk culture and artistic heritage, and thus arouse their national pride. Pijade, referring to himself as a native Serb, opened by criticizing the so-called city intelligentsia who, according to him, spoil the natural ingenuity and creativity of the simple folk., Godine 1907. David S. Pijade (1881-1942), mladi pesnik, pisac i prevodilac sefardskog jevrejskog porekla iz Beograda, objavio je opširni tekst pod naslovom „Srpska renesansa” u časopisu za kulturu „Pregled”, čiji je osnivač i urednik Velimir Rajić. Pijade je sam komponovao tekst kako bi srpsku publiku upoznao sa romanesknim idejama, otvarajući seriju u nečemu što će se pokazati kao inovativan književno-umetnički, iako kratkotrajan časopis. Esej „Srpska renesansa” može se shvatiti kao uzbuna koju je Pijade uputio svojim budućim čitaocima, mladim srpskim intelektualcima, u kojima se nadao da će probuditi poštovanje prema autohtonoj srpskoj narodnoj kulturi i umetničkom nasleđu i na taj način pobuditi njihov nacionalni ponos. Pijade je, nazivajući sebe starosedeocem Srbinom, započeo kritiku takozvane gradske inteligencije koja, po njemu, kvari prirodnu domišljatost i kreativnost prostog naroda.",
publisher = "Ljubljana : Založba ZRC",
journal = "Jewish-Slavic cultural horizons: essays on Jewish history and art in Slavic lands",
booktitle = "The Pijade brothers and the “Serbian Renaissance”, Braća Pijade i „srpska renesansa“",
pages = "455-470",
url = "https://hdl.handle.net/21.15107/rcub_jdb_2692"
}

Rajner, M.. (2022). The Pijade brothers and the “Serbian Renaissance”. in Jewish-Slavic cultural horizons: essays on Jewish history and art in Slavic lands
Ljubljana : Založba ZRC., 455-470.
https://hdl.handle.net/21.15107/rcub_jdb_2692

Rajner M. The Pijade brothers and the “Serbian Renaissance”. in Jewish-Slavic cultural horizons: essays on Jewish history and art in Slavic lands. 2022;:455-470.
https://hdl.handle.net/21.15107/rcub_jdb_2692 .

Rajner, Mirjam, "The Pijade brothers and the “Serbian Renaissance”" in Jewish-Slavic cultural horizons: essays on Jewish history and art in Slavic lands (2022):455-470,
https://hdl.handle.net/21.15107/rcub_jdb_2692 .

TY  - CHAP
AU  - Rajner, Mirjam
PY  - 2020
UR  - https://www.jevrejskadigitalnabiblioteka.rs/handle/123456789/2690
AB  - In "Fragile Images: Jews and Art in Yugoslavia, 1918-1945", Mirjam Rajner traces the lives and creativity of seven artists of Jewish origin. The artists - Moša Pijade, Daniel Kabiljo, Adolf Weiller, Bora Baruh, Daniel Ozmo, Ivan Rein and Johanna Lutzer - were characterized by multiple and changeable identities: nationalist and universalist, Zionist and Sephardic, communist and cosmopolitan. These fluctuating identities found expression in their art, as did their wartime fate as refugees, camp inmates, partisans and survivors. A wealth of newly-discovered images, diaries and letters highlight this little-known aspect of Jewish life and art in Yugoslavia, illuminating a turbulent era that included integration into a newly-founded country, the catastrophe of the Holocaust, and renewal in its aftermath.
AB  - U delu „Krhke slike: Jevreji i umetnost u Jugoslaviji, 1918-1945“ Mirjam Rajner prati život i stvaralaštvo sedam umetnika jevrejskog porekla. Umetnici - Moša Pijade, Danijel Kabiljo, Adolf Vajler, Bora Baruh, Danijel Ozmo, Ivan Rajn i Johana Lucer - odlikovali su se višestrukim i promenljivim identitetima: nacionalistički i univerzalistički, cionistički i sefardski, komunistički i kosmopolitski. Ovi promenljivi identiteti našli su izraz u njihovoj umetnosti, kao i njihova ratna sudbina izbeglica, logoraša, partizana i preživelih. Mnoštvo novootkrivenih slika, dnevnika i pisama naglašava ovaj malo poznati aspekt jevrejskog života i umetnosti u Jugoslaviji, osvetljavajući turbulentno doba koje je uključivalo integraciju u novoosnovanu zemlju, katastrofu Holokausta i obnovu nakon njega.
PB  - Leiden ; Boston : Brill
T2  - Fragile images: Jews and art in Yugoslavia, 1918-1945
T1  - Introduction [Fragile images: Jews and art in Yugoslavia, 1918-1945 ]
T1  - Uvod [Krhke slike: Jevreji i umetnost u Jugoslaviji, 1918-1945]
SP  - 1
EP  - 9
UR  - https://hdl.handle.net/21.15107/rcub_jdb_2690
ER  - 

@inbook{
author = "Rajner, Mirjam",
year = "2020",
abstract = "In "Fragile Images: Jews and Art in Yugoslavia, 1918-1945", Mirjam Rajner traces the lives and creativity of seven artists of Jewish origin. The artists - Moša Pijade, Daniel Kabiljo, Adolf Weiller, Bora Baruh, Daniel Ozmo, Ivan Rein and Johanna Lutzer - were characterized by multiple and changeable identities: nationalist and universalist, Zionist and Sephardic, communist and cosmopolitan. These fluctuating identities found expression in their art, as did their wartime fate as refugees, camp inmates, partisans and survivors. A wealth of newly-discovered images, diaries and letters highlight this little-known aspect of Jewish life and art in Yugoslavia, illuminating a turbulent era that included integration into a newly-founded country, the catastrophe of the Holocaust, and renewal in its aftermath., U delu „Krhke slike: Jevreji i umetnost u Jugoslaviji, 1918-1945“ Mirjam Rajner prati život i stvaralaštvo sedam umetnika jevrejskog porekla. Umetnici - Moša Pijade, Danijel Kabiljo, Adolf Vajler, Bora Baruh, Danijel Ozmo, Ivan Rajn i Johana Lucer - odlikovali su se višestrukim i promenljivim identitetima: nacionalistički i univerzalistički, cionistički i sefardski, komunistički i kosmopolitski. Ovi promenljivi identiteti našli su izraz u njihovoj umetnosti, kao i njihova ratna sudbina izbeglica, logoraša, partizana i preživelih. Mnoštvo novootkrivenih slika, dnevnika i pisama naglašava ovaj malo poznati aspekt jevrejskog života i umetnosti u Jugoslaviji, osvetljavajući turbulentno doba koje je uključivalo integraciju u novoosnovanu zemlju, katastrofu Holokausta i obnovu nakon njega.",
publisher = "Leiden ; Boston : Brill",
journal = "Fragile images: Jews and art in Yugoslavia, 1918-1945",
booktitle = "Introduction [Fragile images: Jews and art in Yugoslavia, 1918-1945 ], Uvod [Krhke slike: Jevreji i umetnost u Jugoslaviji, 1918-1945]",
pages = "1-9",
url = "https://hdl.handle.net/21.15107/rcub_jdb_2690"
}

Rajner, M.. (2020). Introduction [Fragile images: Jews and art in Yugoslavia, 1918-1945 ]. in Fragile images: Jews and art in Yugoslavia, 1918-1945
Leiden ; Boston : Brill., 1-9.
https://hdl.handle.net/21.15107/rcub_jdb_2690

Rajner M. Introduction [Fragile images: Jews and art in Yugoslavia, 1918-1945 ]. in Fragile images: Jews and art in Yugoslavia, 1918-1945. 2020;:1-9.
https://hdl.handle.net/21.15107/rcub_jdb_2690 .

Rajner, Mirjam, "Introduction [Fragile images: Jews and art in Yugoslavia, 1918-1945 ]" in Fragile images: Jews and art in Yugoslavia, 1918-1945 (2020):1-9,
https://hdl.handle.net/21.15107/rcub_jdb_2690 .

TY  - JOUR
AU  - Rajner, Mirjam
PY  - 2019
UR  - https://www.jevrejskadigitalnabiblioteka.rs/handle/123456789/2486
AB  - The article aims to revisit Sarajevo’s Great Sephardic Temple (Il Kal Grandi), a little-known, short-lived twentieth-century synagogue. Built between 1926 and 1930 in Bosnia and Herzegovina’s capital, then part of the Kingdom of Yugoslavia, it was the last such project before the outbreak of World War II in the region. The article explores this synagogue’s oriental and specifically Sephardic identity as well as the politics surrounding the decision to build it. Although built by Sarajevo’s Sephardic community, several Il Kal Grandi’s sociological, architectural and aesthetic choices, as the article argues, originate in the Ashkenazic, German-speaking cultural sphere. German architects in the first half of the nineteenth century were the first to use an oriental style based upon the style of the Alhambra Palace to stress Jewish oriental, non-European identity. The use of the very same style, along with modern innovations, enabled the Sephardic community in Sarajevo to be part of the united (Ashkenazic and Sephardic), predominantly Zionist Yugoslav Jewry while preserving its specifically Sephardic distinctiveness.
AB  - Članak ima za cilj da se ponovo osvrne na sarajevski Veliki sefardski hram (Il Kal Grandi), malo poznatu, kratkotrajnu sinagogu dvadesetog veka. Izgrađen između 1926. i 1930. godine u glavnom gradu Bosne i Hercegovine, tada u sastavu Kraljevine Jugoslavije, bio je to poslednji takav projekat u regionu pre izbijanja Drugog svetskog rata. Članak istražuje orijentalni i specifično sefardski identitet ove sinagoge, kao i politiku oko odluke da se ona izgradi. Iako ga je izgradila sarajevska sefardska zajednica, nekoliko socioloških, arhitektonskih i estetskih izbora Il Kal Grandija, kako se navodi u članku, potiču iz aškenske kulturne sfere nemačkog govornog područja. Nemačke arhitekte u prvoj polovini devetnaestog veka bili su prvi koji su koristili orijentalni stil zasnovan na stilu palate Alhambra kako bi naglasili jevrejski orijentalni, neevropski identitet. Upotreba istog stila, uz moderne inovacije, omogućila je sefardskoj zajednici u Sarajevu da bude deo ujedinjenog (aškenaskog i sefardskog), pretežno cionističkog jugoslovenskog jevrejstva, uz očuvanje svoje specifično sefardske posebnosti.
PB  - Ramat Gan : M. Rajner
T1  - Il Kal Grandi - Sarajevo's great Sephardic temple: at the crossroads between Orient and modernity
T1  - Il Kal Grandi - veliki sarajevski sefardski hram: na raskrsnici između Orijenta i modernosti
SP  - 1
EP  - 23
UR  - https://hdl.handle.net/21.15107/rcub_jdb_2486
ER  - 

@article{
author = "Rajner, Mirjam",
year = "2019",
abstract = "The article aims to revisit Sarajevo’s Great Sephardic Temple (Il Kal Grandi), a little-known, short-lived twentieth-century synagogue. Built between 1926 and 1930 in Bosnia and Herzegovina’s capital, then part of the Kingdom of Yugoslavia, it was the last such project before the outbreak of World War II in the region. The article explores this synagogue’s oriental and specifically Sephardic identity as well as the politics surrounding the decision to build it. Although built by Sarajevo’s Sephardic community, several Il Kal Grandi’s sociological, architectural and aesthetic choices, as the article argues, originate in the Ashkenazic, German-speaking cultural sphere. German architects in the first half of the nineteenth century were the first to use an oriental style based upon the style of the Alhambra Palace to stress Jewish oriental, non-European identity. The use of the very same style, along with modern innovations, enabled the Sephardic community in Sarajevo to be part of the united (Ashkenazic and Sephardic), predominantly Zionist Yugoslav Jewry while preserving its specifically Sephardic distinctiveness., Članak ima za cilj da se ponovo osvrne na sarajevski Veliki sefardski hram (Il Kal Grandi), malo poznatu, kratkotrajnu sinagogu dvadesetog veka. Izgrađen između 1926. i 1930. godine u glavnom gradu Bosne i Hercegovine, tada u sastavu Kraljevine Jugoslavije, bio je to poslednji takav projekat u regionu pre izbijanja Drugog svetskog rata. Članak istražuje orijentalni i specifično sefardski identitet ove sinagoge, kao i politiku oko odluke da se ona izgradi. Iako ga je izgradila sarajevska sefardska zajednica, nekoliko socioloških, arhitektonskih i estetskih izbora Il Kal Grandija, kako se navodi u članku, potiču iz aškenske kulturne sfere nemačkog govornog područja. Nemačke arhitekte u prvoj polovini devetnaestog veka bili su prvi koji su koristili orijentalni stil zasnovan na stilu palate Alhambra kako bi naglasili jevrejski orijentalni, neevropski identitet. Upotreba istog stila, uz moderne inovacije, omogućila je sefardskoj zajednici u Sarajevu da bude deo ujedinjenog (aškenaskog i sefardskog), pretežno cionističkog jugoslovenskog jevrejstva, uz očuvanje svoje specifično sefardske posebnosti.",
publisher = "Ramat Gan : M. Rajner",
title = "Il Kal Grandi - Sarajevo's great Sephardic temple: at the crossroads between Orient and modernity, Il Kal Grandi - veliki sarajevski sefardski hram: na raskrsnici između Orijenta i modernosti",
pages = "1-23",
url = "https://hdl.handle.net/21.15107/rcub_jdb_2486"
}

Rajner, M.. (2019). Il Kal Grandi - Sarajevo's great Sephardic temple: at the crossroads between Orient and modernity. 
Ramat Gan : M. Rajner., 1-23.
https://hdl.handle.net/21.15107/rcub_jdb_2486

Rajner M. Il Kal Grandi - Sarajevo's great Sephardic temple: at the crossroads between Orient and modernity. 2019;:1-23.
https://hdl.handle.net/21.15107/rcub_jdb_2486 .

Rajner, Mirjam, "Il Kal Grandi - Sarajevo's great Sephardic temple: at the crossroads between Orient and modernity" (2019):1-23,
https://hdl.handle.net/21.15107/rcub_jdb_2486 .

TY  - JOUR
AU  - Rajner, Mirjam
PY  - 2019
UR  - https://www.jevrejskadigitalnabiblioteka.rs/handle/123456789/2696
AB  - This article explores the use of photographs in Moritz Levy’s book dedicated to the
history of Sephardic Jews in Bosnia, published in Sarajevo in 1911. While the photographs accompany the historical narrative and aim to prove the preservation and continuity of the unique Bosnian Sephardic identity throughout the centuries, they were, as the article argues, distinctly modern creations. Visually prominent and imbued with an aestheticized quality, they relied on Ottoman official albums of promotional photography, Austro-Hungarian orientalized images of occupied Bosnia and Herzegovina, and the new Jewish art. As a result of this novelty, Levy’s book became a model for how later Yugoslav Jewish publications presented Bosnian Sephardim. Due to the turbulent historical events in the region, these images became politicized, assumed a memorial role, and have also recently inspired a renewal.
AB  - El presente artículo examina el uso de las fotografías en el libro de Moritz Levy, dedicado a la historia de los sefardíes de Bosnia, que fue publicado en 1911. Aunque las fotografías acompañan la narrativa histórica intentando demostrar la preservación y continuidad de la identidad singular de los sefardíes
bosnios a lo largo de los siglos, fueron, como se demuestra en el artículo, claramente una creación moderna. Visualmente destacadas e impregnadas de esteticismo, y fundadas en los álbumes oficiales otomanos de fotografía promocional, las orientalizadas imágenes austro-húngaras de la Bosnia ocupada y el nuevo arte judío. Como el resultado de esa novedad el libro de Levy sirvió de modelo para la representación de los sefardíes bosnios en las publicaciones judías yugoslavas posteriores. Sin embargo, debido a los eventos históricos turbulentos en la región, esas imágenes fueron politizadas y asumieron un papel conmemorativo y recientemente también han inspirado una renovación.
AB  - Ovaj članak istražuje upotrebu fotografija u knjizi Morica Levija posvećenoj istoriji sefardskih Jevreja u Bosni, koja je objavljena u Sarajevu 1911. godine. Dok fotografije prate istorijski narativ i imaju za cilj da dokažu očuvanje i kontinuitet jedinstvenog bosanskohercegovačkog sefardskog identiteta kroz vekove, one su, kako se u članku tvrdi, bile izrazito moderne tvorevine. Vizuelno istaknute i prožete estetizovanim kvalitetom, oslanjale su se na otomanske zvanične albume promotivnih fotografija, austrougarske orijentalizovane slike okupirane Bosne i Hercegovine i novu jevrejsku umetnost. Kao rezultat ove novine, Levijeva knjiga je postala uzor kako su kasnije jugoslovenske jevrejske publikacije predstavljale bosanske Sefarde. Zbog burnih istorijskih događaja u regionu, ove slike su postale politizovane, preuzele su memorijalnu ulogu, a nedavno su inspirisale i obnovu.
PB  - Madrid : Consejo Superior de Investigaciones Científicas
T2  - Sefarad
T1  - Visualizing the past: the role of images in fostering the Sephardic identity of Sarajevo Jewry
T1  - Visualizando el pasado: el papel de las imágenes en la promoción de la identidad Sefardí de los Judíos de Sarajevo
T1  - Vizualizacija prošlosti: uloga slika u negovanju sefardskog identiteta sarajevskog jevrejstva
DO  - 10.3989/sefarad.019-008
SP  - 265
EP  - 295
IS  - 1 (enero-junio)
VL  - 79
ER  - 

@article{
author = "Rajner, Mirjam",
year = "2019",
abstract = "This article explores the use of photographs in Moritz Levy’s book dedicated to the
history of Sephardic Jews in Bosnia, published in Sarajevo in 1911. While the photographs accompany the historical narrative and aim to prove the preservation and continuity of the unique Bosnian Sephardic identity throughout the centuries, they were, as the article argues, distinctly modern creations. Visually prominent and imbued with an aestheticized quality, they relied on Ottoman official albums of promotional photography, Austro-Hungarian orientalized images of occupied Bosnia and Herzegovina, and the new Jewish art. As a result of this novelty, Levy’s book became a model for how later Yugoslav Jewish publications presented Bosnian Sephardim. Due to the turbulent historical events in the region, these images became politicized, assumed a memorial role, and have also recently inspired a renewal., El presente artículo examina el uso de las fotografías en el libro de Moritz Levy, dedicado a la historia de los sefardíes de Bosnia, que fue publicado en 1911. Aunque las fotografías acompañan la narrativa histórica intentando demostrar la preservación y continuidad de la identidad singular de los sefardíes
bosnios a lo largo de los siglos, fueron, como se demuestra en el artículo, claramente una creación moderna. Visualmente destacadas e impregnadas de esteticismo, y fundadas en los álbumes oficiales otomanos de fotografía promocional, las orientalizadas imágenes austro-húngaras de la Bosnia ocupada y el nuevo arte judío. Como el resultado de esa novedad el libro de Levy sirvió de modelo para la representación de los sefardíes bosnios en las publicaciones judías yugoslavas posteriores. Sin embargo, debido a los eventos históricos turbulentos en la región, esas imágenes fueron politizadas y asumieron un papel conmemorativo y recientemente también han inspirado una renovación., Ovaj članak istražuje upotrebu fotografija u knjizi Morica Levija posvećenoj istoriji sefardskih Jevreja u Bosni, koja je objavljena u Sarajevu 1911. godine. Dok fotografije prate istorijski narativ i imaju za cilj da dokažu očuvanje i kontinuitet jedinstvenog bosanskohercegovačkog sefardskog identiteta kroz vekove, one su, kako se u članku tvrdi, bile izrazito moderne tvorevine. Vizuelno istaknute i prožete estetizovanim kvalitetom, oslanjale su se na otomanske zvanične albume promotivnih fotografija, austrougarske orijentalizovane slike okupirane Bosne i Hercegovine i novu jevrejsku umetnost. Kao rezultat ove novine, Levijeva knjiga je postala uzor kako su kasnije jugoslovenske jevrejske publikacije predstavljale bosanske Sefarde. Zbog burnih istorijskih događaja u regionu, ove slike su postale politizovane, preuzele su memorijalnu ulogu, a nedavno su inspirisale i obnovu.",
publisher = "Madrid : Consejo Superior de Investigaciones Científicas",
journal = "Sefarad",
title = "Visualizing the past: the role of images in fostering the Sephardic identity of Sarajevo Jewry, Visualizando el pasado: el papel de las imágenes en la promoción de la identidad Sefardí de los Judíos de Sarajevo, Vizualizacija prošlosti: uloga slika u negovanju sefardskog identiteta sarajevskog jevrejstva",
doi = "10.3989/sefarad.019-008",
pages = "265-295",
number = "1 (enero-junio)",
volume = "79"
}

Rajner, M.. (2019). Visualizing the past: the role of images in fostering the Sephardic identity of Sarajevo Jewry. in Sefarad
Madrid : Consejo Superior de Investigaciones Científicas., 79(1 (enero-junio)), 265-295.
https://doi.org/10.3989/sefarad.019-008

Rajner M. Visualizing the past: the role of images in fostering the Sephardic identity of Sarajevo Jewry. in Sefarad. 2019;79(1 (enero-junio)):265-295.
doi:10.3989/sefarad.019-008 .

Rajner, Mirjam, "Visualizing the past: the role of images in fostering the Sephardic identity of Sarajevo Jewry" in Sefarad, 79, no. 1 (enero-junio) (2019):265-295,
https://doi.org/10.3989/sefarad.019-008 . .

TY  - JOUR
AU  - Cohen, Richard I.
AU  - Rajner, Mirjam
PY  - 2015
UR  - https://www.jevrejskadigitalnabiblioteka.rs/handle/123456789/2689
AB  - Samuel Hirszenberg (1865-1908), the Łódź-born artist, created several signature works of art that would emerge as emblematic of the Jewish historical experience of the twentieth century. "Exile" (1904) is one of these works that came to evoke the trials and tribulations of Jewish fate in the decades following its creation. After placing "Exile" in the context of Hirszenberg’s oeuvre, this essay charts its cultural and artistic reception over close to a century in diverse media. "Exile" evoked instinctive, negative responses alongside a deep sense of identification and appropriation. The essay illuminates how a seminal work of art can engender intense interaction over decades, allowing a wide range of interpretations, references, and quotations.
AB  - Samuel Hiršenberg (1865-1908), umetnik rođen u Lođu, stvorio je nekoliko prepoznatljivih umetničkih dela koja će se pojaviti kao simbol jevrejskog istorijskog iskustva dvadesetog veka. „Izgnanstvo“ (1904) je jedno od ovih dela koje je dočaralo iskušenja i nevolje jevrejske sudbine u decenijama nakon njegovog nastanka. Nakon što je „Egzil“ stavio u kontekst Hiršenbergovog opusa, ovaj esej prikazuje njegovu kulturnu i umetničku recepciju tokom skoro jednog veka u različitim medijima. „Izgnanstvo“ je izazvalo instinktivne, negativne odgovore uz dubok osećaj identifikacije i prisvajanja. Esej osvetljava kako osnovno umetničko delo može izazvati intenzivnu interakciju tokom decenija, omogućavajući širok spektar tumačenja, referenci i citata.
PB  - Leiden : Koninklijke Brill NV
T2  - Images
T1  - Invoking Samuel Hirszenberg’s artistic legacy - encountering "Exile"
T1  - Pozivanje na umetničko nasleđe Samuela Hiršenberga - susret sa „Izgnanstvom“
DO  - 10.1163/18718000-12340035
SP  - 46
EP  - 65
IS  - 1
VL  - 8
ER  - 

@article{
author = "Cohen, Richard I. and Rajner, Mirjam",
year = "2015",
abstract = "Samuel Hirszenberg (1865-1908), the Łódź-born artist, created several signature works of art that would emerge as emblematic of the Jewish historical experience of the twentieth century. "Exile" (1904) is one of these works that came to evoke the trials and tribulations of Jewish fate in the decades following its creation. After placing "Exile" in the context of Hirszenberg’s oeuvre, this essay charts its cultural and artistic reception over close to a century in diverse media. "Exile" evoked instinctive, negative responses alongside a deep sense of identification and appropriation. The essay illuminates how a seminal work of art can engender intense interaction over decades, allowing a wide range of interpretations, references, and quotations., Samuel Hiršenberg (1865-1908), umetnik rođen u Lođu, stvorio je nekoliko prepoznatljivih umetničkih dela koja će se pojaviti kao simbol jevrejskog istorijskog iskustva dvadesetog veka. „Izgnanstvo“ (1904) je jedno od ovih dela koje je dočaralo iskušenja i nevolje jevrejske sudbine u decenijama nakon njegovog nastanka. Nakon što je „Egzil“ stavio u kontekst Hiršenbergovog opusa, ovaj esej prikazuje njegovu kulturnu i umetničku recepciju tokom skoro jednog veka u različitim medijima. „Izgnanstvo“ je izazvalo instinktivne, negativne odgovore uz dubok osećaj identifikacije i prisvajanja. Esej osvetljava kako osnovno umetničko delo može izazvati intenzivnu interakciju tokom decenija, omogućavajući širok spektar tumačenja, referenci i citata.",
publisher = "Leiden : Koninklijke Brill NV",
journal = "Images",
title = "Invoking Samuel Hirszenberg’s artistic legacy - encountering "Exile", Pozivanje na umetničko nasleđe Samuela Hiršenberga - susret sa „Izgnanstvom“",
doi = "10.1163/18718000-12340035",
pages = "46-65",
number = "1",
volume = "8"
}

Cohen, R. I.,& Rajner, M.. (2015). Invoking Samuel Hirszenberg’s artistic legacy - encountering "Exile". in Images
Leiden : Koninklijke Brill NV., 8(1), 46-65.
https://doi.org/10.1163/18718000-12340035

Cohen RI, Rajner M. Invoking Samuel Hirszenberg’s artistic legacy - encountering "Exile". in Images. 2015;8(1):46-65.
doi:10.1163/18718000-12340035 .

Cohen, Richard I., Rajner, Mirjam, "Invoking Samuel Hirszenberg’s artistic legacy - encountering "Exile"" in Images, 8, no. 1 (2015):46-65,
https://doi.org/10.1163/18718000-12340035 . .

TY  - JOUR
AU  - Rajner, Mirjam
AU  - Cohen, Richard I.
PY  - 2014
UR  - https://www.jevrejskadigitalnabiblioteka.rs/handle/123456789/2693
AB  - "The destruction of Jerusalem and its Temple has remained a constant cultural, religious, and theoretical preoccupation of Jews and non-Jews. Deeply enshrined in historical memory, the destruction has occasioned a wide range of interpretations, associations, and metaphoric analogies. As such, it has, of course, also captured the imagination and interpretation of a wide range of artists - from Rembrandt and Nicolas Poussin in the seventeenth century, to Eduard Bendemann (1811-1889), the German artist of Jewish origin and Wilhelm von Kaulbach in the nineteenth. While often utilizing the destruction as a metaphor for other historical events or cultural phenomena, artists have chosen to depict either the acts of violence and havoc during the tragic event itself or create a more contemplative atmosphere that focuses on the feelings of loss, mourning, and displacement that came in its wake..."
AB  - „Uništenje Jerusalima i njegovog hrama ostalo je stalna kulturna, verska i teorijska preokupacija Jevreja i neJevreja. Duboko urezano u istorijsko pamćenje, razaranje je izazvalo širok spektar tumačenja, asocijacija i metaforičkih analogija. Kao takvo, ono je, naravno, zaokupilo maštu i interpretaciju širokog spektra umetnika - od Rembranta i Nikole Pusena u sedamnaestom veku, do Eduarda Bendemana (1811-1889), nemačkog umetnika jevrejskog porekla i Vilhelma fon Kaulbaha u 19. veku. Iako često koriste destrukciju kao metaforu za druge istorijske događaje ili kulturne fenomene, umetnici su izabrali da prikažu ili akte nasilja i pustošenja tokom samog tragičnog događaja ili da stvore kontemplativniju atmosferu koja se fokusira na osećaj gubitka, tugovanje i raseljavanje koje je došlo za njim..."
PB  - Warszawa : Instytut Sztuki Polskiej Akademii Nauk
T2  - Biuletyn Historii Sztuki [Bulletin of Art History]
T1  - Wandalin Strzalecki's „Song on the destruction of Jerusalem". A homage to Maurycy Gottlieb and Poland
T1  - „Pesma o razaranju Jerusalima“ Vandalina Strzaleckog. Omaž Mauriciju Gotlibu i Poljskoj ​
SP  - 83
EP  - 112
IS  - 1
VL  - 76
UR  - https://hdl.handle.net/21.15107/rcub_jdb_2693
ER  - 

@article{
author = "Rajner, Mirjam and Cohen, Richard I.",
year = "2014",
abstract = ""The destruction of Jerusalem and its Temple has remained a constant cultural, religious, and theoretical preoccupation of Jews and non-Jews. Deeply enshrined in historical memory, the destruction has occasioned a wide range of interpretations, associations, and metaphoric analogies. As such, it has, of course, also captured the imagination and interpretation of a wide range of artists - from Rembrandt and Nicolas Poussin in the seventeenth century, to Eduard Bendemann (1811-1889), the German artist of Jewish origin and Wilhelm von Kaulbach in the nineteenth. While often utilizing the destruction as a metaphor for other historical events or cultural phenomena, artists have chosen to depict either the acts of violence and havoc during the tragic event itself or create a more contemplative atmosphere that focuses on the feelings of loss, mourning, and displacement that came in its wake...", „Uništenje Jerusalima i njegovog hrama ostalo je stalna kulturna, verska i teorijska preokupacija Jevreja i neJevreja. Duboko urezano u istorijsko pamćenje, razaranje je izazvalo širok spektar tumačenja, asocijacija i metaforičkih analogija. Kao takvo, ono je, naravno, zaokupilo maštu i interpretaciju širokog spektra umetnika - od Rembranta i Nikole Pusena u sedamnaestom veku, do Eduarda Bendemana (1811-1889), nemačkog umetnika jevrejskog porekla i Vilhelma fon Kaulbaha u 19. veku. Iako često koriste destrukciju kao metaforu za druge istorijske događaje ili kulturne fenomene, umetnici su izabrali da prikažu ili akte nasilja i pustošenja tokom samog tragičnog događaja ili da stvore kontemplativniju atmosferu koja se fokusira na osećaj gubitka, tugovanje i raseljavanje koje je došlo za njim..."",
publisher = "Warszawa : Instytut Sztuki Polskiej Akademii Nauk",
journal = "Biuletyn Historii Sztuki [Bulletin of Art History]",
title = "Wandalin Strzalecki's „Song on the destruction of Jerusalem". A homage to Maurycy Gottlieb and Poland, „Pesma o razaranju Jerusalima“ Vandalina Strzaleckog. Omaž Mauriciju Gotlibu i Poljskoj ​",
pages = "83-112",
number = "1",
volume = "76",
url = "https://hdl.handle.net/21.15107/rcub_jdb_2693"
}

Rajner, M.,& Cohen, R. I.. (2014). Wandalin Strzalecki's „Song on the destruction of Jerusalem". A homage to Maurycy Gottlieb and Poland. in Biuletyn Historii Sztuki [Bulletin of Art History]
Warszawa : Instytut Sztuki Polskiej Akademii Nauk., 76(1), 83-112.
https://hdl.handle.net/21.15107/rcub_jdb_2693

Rajner M, Cohen RI. Wandalin Strzalecki's „Song on the destruction of Jerusalem". A homage to Maurycy Gottlieb and Poland. in Biuletyn Historii Sztuki [Bulletin of Art History]. 2014;76(1):83-112.
https://hdl.handle.net/21.15107/rcub_jdb_2693 .

Rajner, Mirjam, Cohen, Richard I., "Wandalin Strzalecki's „Song on the destruction of Jerusalem". A homage to Maurycy Gottlieb and Poland" in Biuletyn Historii Sztuki [Bulletin of Art History], 76, no. 1 (2014):83-112,
https://hdl.handle.net/21.15107/rcub_jdb_2693 .

TY  - JOUR
AU  - Cohen, Richard I.
AU  - Rajner, Mirjam
PY  - 2011
UR  - https://www.jevrejskadigitalnabiblioteka.rs/handle/123456789/2695
AB  - "Few Jewish artists of the turn of the twentieth century created works that became classics in their lifetime. One who did was Samuel Hirszenberg, the Lodz-born (1865) artist, who trained in Cracow, Munich, and Paris, and eventually came in October 1907 to teach at the fledgling Bezalel Art School in Jerusalem, where he died less than a year later. Hirszenberg's huge and haunting 'Wandering Jew' of 1899 (343 x 293 cm), which we revisit here, presently in the collection of the Israel Museum in Jerusalem, is certainly one of the most dramatic paintings by a Jewish artist in the nineteenth century, and thus for good reason has been reproduced and discussed repeatedly in various publications. Indeed, the 'Wandering Jew' became one of the classic Zionist icons in the early Bezalel days..."
AB  - „Nekoliko jevrejskih umetnika s početka dvadesetog veka stvorilo je dela koja su postala klasika za  njihovog života. Jedan od njih bio je Samuel Hiršenberg, umetnik rođen u Lođu (1865), koji se školovao u Krakovu, Minhenu i Parizu i od oktobra 1907. predavao u novonastaloj umetničkoj školi Bezalel u Jerusalimu, gde je umro za manje od godinu dana. Hiršenbergov ogroman i ekspresivni 'Lutajući Jevrejin' iz 1899. (343 x 293 cm) koji ovde ponovo posmatramo, trenutno u kolekciji Izraelskog muzeja u Jerusalimu, svakako je jedna od najdramatičnijih slika jevrejskog umetnika u devetnaestom veku, pa je s razlogom više puta reprodukovana i diskutovana u raznim publikacijama. Zaista, 'Lutajući Jevrejin' je postao jedan od klasičnih cionističkih ikona u ranim Bezalelovim danima...“
PB  - Liverpool : Liverpool University Press
T2  - Ars Judaica
T1  - The return of the wandering Jew(s) in Samuel Hirszenberg's art
T1  - Povratak lutajućih Jevreja(a) u umetnosti Samuela Hiršenberga
SP  - 33
EP  - 56
IS  - 7
UR  - https://hdl.handle.net/21.15107/rcub_jdb_2695
ER  - 

@article{
author = "Cohen, Richard I. and Rajner, Mirjam",
year = "2011",
abstract = ""Few Jewish artists of the turn of the twentieth century created works that became classics in their lifetime. One who did was Samuel Hirszenberg, the Lodz-born (1865) artist, who trained in Cracow, Munich, and Paris, and eventually came in October 1907 to teach at the fledgling Bezalel Art School in Jerusalem, where he died less than a year later. Hirszenberg's huge and haunting 'Wandering Jew' of 1899 (343 x 293 cm), which we revisit here, presently in the collection of the Israel Museum in Jerusalem, is certainly one of the most dramatic paintings by a Jewish artist in the nineteenth century, and thus for good reason has been reproduced and discussed repeatedly in various publications. Indeed, the 'Wandering Jew' became one of the classic Zionist icons in the early Bezalel days...", „Nekoliko jevrejskih umetnika s početka dvadesetog veka stvorilo je dela koja su postala klasika za  njihovog života. Jedan od njih bio je Samuel Hiršenberg, umetnik rođen u Lođu (1865), koji se školovao u Krakovu, Minhenu i Parizu i od oktobra 1907. predavao u novonastaloj umetničkoj školi Bezalel u Jerusalimu, gde je umro za manje od godinu dana. Hiršenbergov ogroman i ekspresivni 'Lutajući Jevrejin' iz 1899. (343 x 293 cm) koji ovde ponovo posmatramo, trenutno u kolekciji Izraelskog muzeja u Jerusalimu, svakako je jedna od najdramatičnijih slika jevrejskog umetnika u devetnaestom veku, pa je s razlogom više puta reprodukovana i diskutovana u raznim publikacijama. Zaista, 'Lutajući Jevrejin' je postao jedan od klasičnih cionističkih ikona u ranim Bezalelovim danima...“",
publisher = "Liverpool : Liverpool University Press",
journal = "Ars Judaica",
title = "The return of the wandering Jew(s) in Samuel Hirszenberg's art, Povratak lutajućih Jevreja(a) u umetnosti Samuela Hiršenberga",
pages = "33-56",
number = "7",
url = "https://hdl.handle.net/21.15107/rcub_jdb_2695"
}

Cohen, R. I.,& Rajner, M.. (2011). The return of the wandering Jew(s) in Samuel Hirszenberg's art. in Ars Judaica
Liverpool : Liverpool University Press.(7), 33-56.
https://hdl.handle.net/21.15107/rcub_jdb_2695

Cohen RI, Rajner M. The return of the wandering Jew(s) in Samuel Hirszenberg's art. in Ars Judaica. 2011;(7):33-56.
https://hdl.handle.net/21.15107/rcub_jdb_2695 .

Cohen, Richard I., Rajner, Mirjam, "The return of the wandering Jew(s) in Samuel Hirszenberg's art" in Ars Judaica, no. 7 (2011):33-56,
https://hdl.handle.net/21.15107/rcub_jdb_2695 .

TY  - CHAP
AU  - Rajner, Mirjam
PY  - 2010
UR  - https://www.jevrejskadigitalnabiblioteka.rs/handle/123456789/1891
AB  - Na slici Marka Šagala Le Table des Prières, parohet - zastor koji uobičajeno stoji u sinagogi, pokrivajući orman sa svicima Tore, javlja se kao zaseban umetnički predmet, van svoje ceremonijalne namene. Ova predstava, koja nalikuje na deo muzejske postavke, verovatno je inspirisana povećanim interesovanjem za sakupljanje i proučavanje jevrejske istorije, kao i narodne umetnosti i folklora, vođenim i podsticanim od grupe jevrejskih intelektualaca u čijoj je neposrednoj blizini Šagal stanovao i radio. To su bili Maksim Vinaver, Simon Dubnov, Meir Balaban, Šlomo Zanvir-Rapaport, poznatiji kao Šlomo An-ski, i drugi. Stoga slika Le Table des Prières u svetlu okolnosti i okruženja u kojima je nastala, izgleda kao prvi rezultat Šagalovog susretanja sa istraživanjem jevrejskog narodnog nasleđa, i kao početak jevrejske etnografske kolekcije u Sankt Peterburgu. Međutim, Le Table des Prières se ne može posmatrati kao prosto dokumentovanje prikupljenih predmeta jevrejske narodne kulture, jer su ovde prikazani predmeti oslobođeni od njihove svrhe kao i od uobičajene sekundarne uloge pozajmljivanja jevrejskog identiteta slici, te postaju centralna i jedina tema slike - oni su slika. Ovim ranim eksperimentom Šagal je inspirisao kasnije plodonosne veze između jevrejske ceremonijalne umetnosti i avangardnog stvaralaštva.
AB  - The article discusses Marc Chagall's little known painting The Praying Desk (Table des Prières),1908-1909. Usually interpreted as a depiction of a private space for prayer and worship of the artist's affluent patrons, the Germont family of Narva, the painting actually seems to present religious artefacts - a Torah curtain, a prayer book, a Torah shield, phylacteries and a wine carafe - exhibited as collector's items. Thus it points towards the early 20th-century interest in research of the Jewish folklore, ethnography and history led by a group of St. Petersburg's intellectuals interested in promoting Jewish secular culture. However, the painting's style, including both primitive and symbolist elements, ties Chagall to the latest Russian avant-garde developments that simultaneously explored the crudeness of children's art and the spirituality stemming from the negation of objectivity.
PB  - Beograd : Univerzitet u Beogradu Filozofski fakultet
T2  - Menora: zbornik radova
T1  - Parohet kao slika: Šagalov Table des Prières (1908-1909)
T1  - Parohet as an image: Chagall's Table des Prières (1908-1909)
SP  - 176
EP  - 201
UR  - https://hdl.handle.net/21.15107/rcub_jdb_1891
ER  - 

@inbook{
author = "Rajner, Mirjam",
year = "2010",
abstract = "Na slici Marka Šagala Le Table des Prières, parohet - zastor koji uobičajeno stoji u sinagogi, pokrivajući orman sa svicima Tore, javlja se kao zaseban umetnički predmet, van svoje ceremonijalne namene. Ova predstava, koja nalikuje na deo muzejske postavke, verovatno je inspirisana povećanim interesovanjem za sakupljanje i proučavanje jevrejske istorije, kao i narodne umetnosti i folklora, vođenim i podsticanim od grupe jevrejskih intelektualaca u čijoj je neposrednoj blizini Šagal stanovao i radio. To su bili Maksim Vinaver, Simon Dubnov, Meir Balaban, Šlomo Zanvir-Rapaport, poznatiji kao Šlomo An-ski, i drugi. Stoga slika Le Table des Prières u svetlu okolnosti i okruženja u kojima je nastala, izgleda kao prvi rezultat Šagalovog susretanja sa istraživanjem jevrejskog narodnog nasleđa, i kao početak jevrejske etnografske kolekcije u Sankt Peterburgu. Međutim, Le Table des Prières se ne može posmatrati kao prosto dokumentovanje prikupljenih predmeta jevrejske narodne kulture, jer su ovde prikazani predmeti oslobođeni od njihove svrhe kao i od uobičajene sekundarne uloge pozajmljivanja jevrejskog identiteta slici, te postaju centralna i jedina tema slike - oni su slika. Ovim ranim eksperimentom Šagal je inspirisao kasnije plodonosne veze između jevrejske ceremonijalne umetnosti i avangardnog stvaralaštva., The article discusses Marc Chagall's little known painting The Praying Desk (Table des Prières),1908-1909. Usually interpreted as a depiction of a private space for prayer and worship of the artist's affluent patrons, the Germont family of Narva, the painting actually seems to present religious artefacts - a Torah curtain, a prayer book, a Torah shield, phylacteries and a wine carafe - exhibited as collector's items. Thus it points towards the early 20th-century interest in research of the Jewish folklore, ethnography and history led by a group of St. Petersburg's intellectuals interested in promoting Jewish secular culture. However, the painting's style, including both primitive and symbolist elements, ties Chagall to the latest Russian avant-garde developments that simultaneously explored the crudeness of children's art and the spirituality stemming from the negation of objectivity.",
publisher = "Beograd : Univerzitet u Beogradu Filozofski fakultet",
journal = "Menora: zbornik radova",
booktitle = "Parohet kao slika: Šagalov Table des Prières (1908-1909), Parohet as an image: Chagall's Table des Prières (1908-1909)",
pages = "176-201",
url = "https://hdl.handle.net/21.15107/rcub_jdb_1891"
}

Rajner, M.. (2010). Parohet kao slika: Šagalov Table des Prières (1908-1909). in Menora: zbornik radova
Beograd : Univerzitet u Beogradu Filozofski fakultet., 176-201.
https://hdl.handle.net/21.15107/rcub_jdb_1891

Rajner M. Parohet kao slika: Šagalov Table des Prières (1908-1909). in Menora: zbornik radova. 2010;:176-201.
https://hdl.handle.net/21.15107/rcub_jdb_1891 .

Rajner, Mirjam, "Parohet kao slika: Šagalov Table des Prières (1908-1909)" in Menora: zbornik radova (2010):176-201,
https://hdl.handle.net/21.15107/rcub_jdb_1891 .

TY  - JOUR
AU  - Rajner, Mirjam
PY  - 2010
UR  - https://www.jevrejskadigitalnabiblioteka.rs/handle/123456789/2694
AB  - "In 1942 Daniel Kabiljo (Sarajevo, March 6, 1894 - concentration camp Jasenovac, 1944), today an almost forgotten Sephardi artist from Sarajevo, was among a group of Jewish prisoners including three painters and a sculptor. They worked in a ceramic workshop belonging to the notorious Jasenovac camp system, established in the summer of 1941, after the foundation of the Independent State of Croatia, a puppet state of Nazi Germany ruled by the fascist Ustasha movement..."
AB  - „Daniel Kabiljo (Sarajevo, 6.03.1894. - logor Jasenovac, 1944.), danas gotovo zaboravljeni sefardski umetnik iz Sarajeva, bio je 1942. godine među grupom jevrejskih zarobljenika, među kojima su bila tri slikara i vajar. Radili su u keramičkoj radionici koja je pripadala zloglasnom sistemu logora Jasenovac, uspostavljenom u ljeto 1941. godine, nakon osnivanja Nezavisne Države Hrvatske, marionetske države nacističke Nemačke kojom je vladao fašistički ustaški pokret...“
PB  - Beer-Sheva : Ben-Gurion University of the Negev, Moshe David Gaon Center for Ladino Culture
T2  - El Prezente: Studies in Sephardic Culture
T1  - Between local and universal: Daniel Kabiljo, a Sephardi artist in Sarajevo on the eve of the Holocaust
T1  - Između lokalnog i univerzalnog: Daniel Kabiljo, sefardski umetnik u Sarajevu uoči Holokausta
SP  - 233
EP  - 258
VL  - 4
UR  - https://hdl.handle.net/21.15107/rcub_jdb_2694
ER  - 

@article{
author = "Rajner, Mirjam",
year = "2010",
abstract = ""In 1942 Daniel Kabiljo (Sarajevo, March 6, 1894 - concentration camp Jasenovac, 1944), today an almost forgotten Sephardi artist from Sarajevo, was among a group of Jewish prisoners including three painters and a sculptor. They worked in a ceramic workshop belonging to the notorious Jasenovac camp system, established in the summer of 1941, after the foundation of the Independent State of Croatia, a puppet state of Nazi Germany ruled by the fascist Ustasha movement...", „Daniel Kabiljo (Sarajevo, 6.03.1894. - logor Jasenovac, 1944.), danas gotovo zaboravljeni sefardski umetnik iz Sarajeva, bio je 1942. godine među grupom jevrejskih zarobljenika, među kojima su bila tri slikara i vajar. Radili su u keramičkoj radionici koja je pripadala zloglasnom sistemu logora Jasenovac, uspostavljenom u ljeto 1941. godine, nakon osnivanja Nezavisne Države Hrvatske, marionetske države nacističke Nemačke kojom je vladao fašistički ustaški pokret...“",
publisher = "Beer-Sheva : Ben-Gurion University of the Negev, Moshe David Gaon Center for Ladino Culture",
journal = "El Prezente: Studies in Sephardic Culture",
title = "Between local and universal: Daniel Kabiljo, a Sephardi artist in Sarajevo on the eve of the Holocaust, Između lokalnog i univerzalnog: Daniel Kabiljo, sefardski umetnik u Sarajevu uoči Holokausta",
pages = "233-258",
volume = "4",
url = "https://hdl.handle.net/21.15107/rcub_jdb_2694"
}

Rajner, M.. (2010). Between local and universal: Daniel Kabiljo, a Sephardi artist in Sarajevo on the eve of the Holocaust. in El Prezente: Studies in Sephardic Culture
Beer-Sheva : Ben-Gurion University of the Negev, Moshe David Gaon Center for Ladino Culture., 4, 233-258.
https://hdl.handle.net/21.15107/rcub_jdb_2694

Rajner M. Between local and universal: Daniel Kabiljo, a Sephardi artist in Sarajevo on the eve of the Holocaust. in El Prezente: Studies in Sephardic Culture. 2010;4:233-258.
https://hdl.handle.net/21.15107/rcub_jdb_2694 .

Rajner, Mirjam, "Between local and universal: Daniel Kabiljo, a Sephardi artist in Sarajevo on the eve of the Holocaust" in El Prezente: Studies in Sephardic Culture, 4 (2010):233-258,
https://hdl.handle.net/21.15107/rcub_jdb_2694 .

TY  - JOUR
AU  - Rajner, Mirjam
PY  - 2009
UR  - https://www.jevrejskadigitalnabiblioteka.rs/handle/123456789/212
AB  - Adolf Vajler (Bosanski Novi, 11 april 1895 - Zagreb, 3 januar 1969) predstavljen je prvenstveno kao jevrejski umetnik koji koristeći teme i ikonografiju istočno-evropskog jevrejskog slikarstva posvećenog pogromima s kraja 19. i početka 20. veka, stvara umetnost vezanu za iskustvo holokausta. Njegovo ratno umetničko delo javlja se ne samo kao izraz antifašističkih težnji, već i kao nastavak teme stradanja Jevreja.
AB  - The name of Adolf Vajler (Adolph Weiller, Bosanski Novi, April 11, 1895 - Zagreb, January 3, 1969), an almost forgotten artist, reappeared in 1996, in the exhibition Dimensions of a period, Jewish Artists in the Anti-Fascist Struggle and as Holocaust Victims, mounted at the Jewish Community in Zagreb. He was shown there for the first time mainly as a Jewish artist and not only as an anti-Fascist fighter, as he appeared occasionally at the group exhibitions of such art until now. This new approach pointed towards the need to re-examine Vajler’s entire artistic opus since it became clear that his art could be better understood only if placed in a broader context of both, the modern European Jewish art and the Holocaust-related art. Thus, Vajler’s early biography pointed towards his intensive involvement with the emerging Jewish artistic scene in the Kingdom of Yugoslavia, during the early 1920s. As a student of the well-known Croatian artist Tomislav Krizman, Vajler continued his studies in Vienna, Munich, and Berlin acquainting himself with both general art movements and development of specifically Jewish themes in modern art The analysis of his earliest works, known today mainly through the descriptions and reproductions in Yugoslav Youth’s Zionist journals (Gideon) and local Jewish newspapers (Židov), pointed towards Vajler's knowledge of Eastern-European Jewish art depicting the hardships of the Jewish life in Diaspora. Such themes were especially developed by the early Zionists who hoped to by depicting Jewish suffering raise the need for its solution. Himself descending from the family of the first Orthodox rabbi in Zagreb, Aharon Palota, and close to Zionist circles, Vajler absorbed and exhibited such art. After a break in his artistic career due to his additional occupation as a forest engineer, Vajler started to intensively draw again during World War II and the Holocaust. His biography during these difficult times is not yet entirely known - it seems to include imprisonment in a jail in Kutina, camp (possibly Jasenovac), escape from it, and joining the partisans in Moslavina. His entire artistic opus including over 200 drawings and the number of oil paintings, created during the war years and the 1950s, kept today in the Croatian History Museum, Jewish Community in Zagreb and private collections, is dedicated to these experiences. These works, depicting both Jewish victims and life in partisans belong to the wealth of artistic work created in Europe during the Holocaust and its aftermath, helping us to better understand these difficult times. Simultaneously, by using the iconography of the late 19th and early 20th centuries Jewish art depicting suffering of the Eastern European Jews during the times of pogroms and expulsions, he acquired at the early stages of his career, in order to express the horrors of the Holocaust, Vajler provided continuity to his art and elevated this suffering to the universal level. By occasionally referring to specifically Jewish subjects related to Jewish religious and ethnic identity, he hoped to preserve in his art a world that vanished in front of his eyes.
PB  - Beograd : Savez jevrejskih opština Jugoslavije [Federation of Jewish Communitues in Jugoslavia]
T2  - Zbornik 9 : Studije, arhivska i memoarska građa, Jevrejski istorijski muzej - Beograd = Jewish studies 9 : Studies, archival and memorial materials, Jewish historical museum - Belgrade
T1  - Adolf Vajler: pokušaj rekonstrukcije biografije jednog jevrejskog umetnika
T1  - Adolf Vajler: an attempt to reconstruct a Jewish artist's biography
SP  - 525
EP  - 562
IS  - 9
UR  - https://hdl.handle.net/21.15107/rcub_jdb_212
ER  - 

@article{
author = "Rajner, Mirjam",
year = "2009",
abstract = "Adolf Vajler (Bosanski Novi, 11 april 1895 - Zagreb, 3 januar 1969) predstavljen je prvenstveno kao jevrejski umetnik koji koristeći teme i ikonografiju istočno-evropskog jevrejskog slikarstva posvećenog pogromima s kraja 19. i početka 20. veka, stvara umetnost vezanu za iskustvo holokausta. Njegovo ratno umetničko delo javlja se ne samo kao izraz antifašističkih težnji, već i kao nastavak teme stradanja Jevreja., The name of Adolf Vajler (Adolph Weiller, Bosanski Novi, April 11, 1895 - Zagreb, January 3, 1969), an almost forgotten artist, reappeared in 1996, in the exhibition Dimensions of a period, Jewish Artists in the Anti-Fascist Struggle and as Holocaust Victims, mounted at the Jewish Community in Zagreb. He was shown there for the first time mainly as a Jewish artist and not only as an anti-Fascist fighter, as he appeared occasionally at the group exhibitions of such art until now. This new approach pointed towards the need to re-examine Vajler’s entire artistic opus since it became clear that his art could be better understood only if placed in a broader context of both, the modern European Jewish art and the Holocaust-related art. Thus, Vajler’s early biography pointed towards his intensive involvement with the emerging Jewish artistic scene in the Kingdom of Yugoslavia, during the early 1920s. As a student of the well-known Croatian artist Tomislav Krizman, Vajler continued his studies in Vienna, Munich, and Berlin acquainting himself with both general art movements and development of specifically Jewish themes in modern art The analysis of his earliest works, known today mainly through the descriptions and reproductions in Yugoslav Youth’s Zionist journals (Gideon) and local Jewish newspapers (Židov), pointed towards Vajler's knowledge of Eastern-European Jewish art depicting the hardships of the Jewish life in Diaspora. Such themes were especially developed by the early Zionists who hoped to by depicting Jewish suffering raise the need for its solution. Himself descending from the family of the first Orthodox rabbi in Zagreb, Aharon Palota, and close to Zionist circles, Vajler absorbed and exhibited such art. After a break in his artistic career due to his additional occupation as a forest engineer, Vajler started to intensively draw again during World War II and the Holocaust. His biography during these difficult times is not yet entirely known - it seems to include imprisonment in a jail in Kutina, camp (possibly Jasenovac), escape from it, and joining the partisans in Moslavina. His entire artistic opus including over 200 drawings and the number of oil paintings, created during the war years and the 1950s, kept today in the Croatian History Museum, Jewish Community in Zagreb and private collections, is dedicated to these experiences. These works, depicting both Jewish victims and life in partisans belong to the wealth of artistic work created in Europe during the Holocaust and its aftermath, helping us to better understand these difficult times. Simultaneously, by using the iconography of the late 19th and early 20th centuries Jewish art depicting suffering of the Eastern European Jews during the times of pogroms and expulsions, he acquired at the early stages of his career, in order to express the horrors of the Holocaust, Vajler provided continuity to his art and elevated this suffering to the universal level. By occasionally referring to specifically Jewish subjects related to Jewish religious and ethnic identity, he hoped to preserve in his art a world that vanished in front of his eyes.",
publisher = "Beograd : Savez jevrejskih opština Jugoslavije [Federation of Jewish Communitues in Jugoslavia]",
journal = "Zbornik 9 : Studije, arhivska i memoarska građa, Jevrejski istorijski muzej - Beograd = Jewish studies 9 : Studies, archival and memorial materials, Jewish historical museum - Belgrade",
title = "Adolf Vajler: pokušaj rekonstrukcije biografije jednog jevrejskog umetnika, Adolf Vajler: an attempt to reconstruct a Jewish artist's biography",
pages = "525-562",
number = "9",
url = "https://hdl.handle.net/21.15107/rcub_jdb_212"
}

Rajner, M.. (2009). Adolf Vajler: pokušaj rekonstrukcije biografije jednog jevrejskog umetnika. in Zbornik 9 : Studije, arhivska i memoarska građa, Jevrejski istorijski muzej - Beograd = Jewish studies 9 : Studies, archival and memorial materials, Jewish historical museum - Belgrade
Beograd : Savez jevrejskih opština Jugoslavije [Federation of Jewish Communitues in Jugoslavia].(9), 525-562.
https://hdl.handle.net/21.15107/rcub_jdb_212

Rajner M. Adolf Vajler: pokušaj rekonstrukcije biografije jednog jevrejskog umetnika. in Zbornik 9 : Studije, arhivska i memoarska građa, Jevrejski istorijski muzej - Beograd = Jewish studies 9 : Studies, archival and memorial materials, Jewish historical museum - Belgrade. 2009;(9):525-562.
https://hdl.handle.net/21.15107/rcub_jdb_212 .

Rajner, Mirjam, "Adolf Vajler: pokušaj rekonstrukcije biografije jednog jevrejskog umetnika" in Zbornik 9 : Studije, arhivska i memoarska građa, Jevrejski istorijski muzej - Beograd = Jewish studies 9 : Studies, archival and memorial materials, Jewish historical museum - Belgrade, no. 9 (2009):525-562,
https://hdl.handle.net/21.15107/rcub_jdb_212 .

TY  - JOUR
AU  - Rajner, Mirjam
PY  - 2000
UR  - https://www.jevrejskadigitalnabiblioteka.rs/handle/123456789/657
AB  - Vrlo dugo se pitanje postojanja jevrejske umetnosti uopšte, a naročito jevrejske figurativne umetnosti, zanemarivalo, prvenstveno na osnovu zabrane izrečene u drugoj Zapovesti: "Ne pravi sebi lika ni obličja bilo čega što je gore na nebu, ili dolje na zemlji, ili u vodama pod zemljom" (Biblija, Izlazak 20/4). Još je Muhamed nazvao Jevreje narodom knjige, i time stavio tačku na područje vizuelnog. Tim pitanjem odnosa reč - slika bavio se i Sigmund Frojd. On smatra da Druga zapovest označava u stvari: "podređivanje percepcije apstraktnoj ideji, trijumf spiritualnosti nad osećanjima“. U hebrejskim rukopisima uloga pisara bila je superiorna. On je bio odgovoran za čitav rukopis, inicijale, ponekad za dekoraciju i izdavanje uputa umetnicima. Područje iluminacije hebrejskih rukopisa nije još dovoljno ispitano i u uporedbi sa rukopisnom umetnošću Vizantije, ili Karolinga, ono može da izgleda siromašno i neuko. Međutim, zaustavljajući se na njegovoj simbolici, upečatljivoj priči boja i oblika, koja se provlači uz tekst, dopire se do suštine srednjovekovnog jevrejskog duhovnog iskustva.
AB  - For a very long time, the question of the existence of Jewish art in general, and of Jewish figurative art in particular, has been neglected, primarily by virtue of the veto stated in the Second Commandment ((Bible, Exodus 20/4). Still, Mohammed called the Jews as the people of the book, thereby placing a spot on the visual domain. Sigmund Freud also addressed the issue of word-picture relationships. He considers the Second Commandment means, in fact, "the subordination of perception to an abstract idea, the triumph of spirituality over feelings." In Hebrew manuscripts, the role of the scrivener was superior. Hebrew manuscripts have not been sufficiently examined yet and compared to the Byzantine or Carolingian manuscript art, it may look poor and untaught, however, pausing on its symbolism, the striking story of color and form that flows with the text, it reaches the essence of medieval Jewish spiritual experience.
PB  - Beograd : Savez jevrejskih opština Jugoslavije [Federation of Jewish Communitues in Jugoslavia]
T2  - Jevrejski almanah 1971/96 [Jewish Almanac]
T1  - Iluminacija hebrejskih rukopisa
T1  - Illumination of Hebrew Manuscripts
SP  - 52
EP  - 74
UR  - https://hdl.handle.net/21.15107/rcub_jdb_657
ER  - 

@article{
author = "Rajner, Mirjam",
year = "2000",
abstract = "Vrlo dugo se pitanje postojanja jevrejske umetnosti uopšte, a naročito jevrejske figurativne umetnosti, zanemarivalo, prvenstveno na osnovu zabrane izrečene u drugoj Zapovesti: "Ne pravi sebi lika ni obličja bilo čega što je gore na nebu, ili dolje na zemlji, ili u vodama pod zemljom" (Biblija, Izlazak 20/4). Još je Muhamed nazvao Jevreje narodom knjige, i time stavio tačku na područje vizuelnog. Tim pitanjem odnosa reč - slika bavio se i Sigmund Frojd. On smatra da Druga zapovest označava u stvari: "podređivanje percepcije apstraktnoj ideji, trijumf spiritualnosti nad osećanjima“. U hebrejskim rukopisima uloga pisara bila je superiorna. On je bio odgovoran za čitav rukopis, inicijale, ponekad za dekoraciju i izdavanje uputa umetnicima. Područje iluminacije hebrejskih rukopisa nije još dovoljno ispitano i u uporedbi sa rukopisnom umetnošću Vizantije, ili Karolinga, ono može da izgleda siromašno i neuko. Međutim, zaustavljajući se na njegovoj simbolici, upečatljivoj priči boja i oblika, koja se provlači uz tekst, dopire se do suštine srednjovekovnog jevrejskog duhovnog iskustva., For a very long time, the question of the existence of Jewish art in general, and of Jewish figurative art in particular, has been neglected, primarily by virtue of the veto stated in the Second Commandment ((Bible, Exodus 20/4). Still, Mohammed called the Jews as the people of the book, thereby placing a spot on the visual domain. Sigmund Freud also addressed the issue of word-picture relationships. He considers the Second Commandment means, in fact, "the subordination of perception to an abstract idea, the triumph of spirituality over feelings." In Hebrew manuscripts, the role of the scrivener was superior. Hebrew manuscripts have not been sufficiently examined yet and compared to the Byzantine or Carolingian manuscript art, it may look poor and untaught, however, pausing on its symbolism, the striking story of color and form that flows with the text, it reaches the essence of medieval Jewish spiritual experience.",
publisher = "Beograd : Savez jevrejskih opština Jugoslavije [Federation of Jewish Communitues in Jugoslavia]",
journal = "Jevrejski almanah 1971/96 [Jewish Almanac]",
title = "Iluminacija hebrejskih rukopisa, Illumination of Hebrew Manuscripts",
pages = "52-74",
url = "https://hdl.handle.net/21.15107/rcub_jdb_657"
}

Rajner, M.. (2000). Iluminacija hebrejskih rukopisa. in Jevrejski almanah 1971/96 [Jewish Almanac]
Beograd : Savez jevrejskih opština Jugoslavije [Federation of Jewish Communitues in Jugoslavia]., 52-74.
https://hdl.handle.net/21.15107/rcub_jdb_657

Rajner M. Iluminacija hebrejskih rukopisa. in Jevrejski almanah 1971/96 [Jewish Almanac]. 2000;:52-74.
https://hdl.handle.net/21.15107/rcub_jdb_657 .

Rajner, Mirjam, "Iluminacija hebrejskih rukopisa" in Jevrejski almanah 1971/96 [Jewish Almanac] (2000):52-74,
https://hdl.handle.net/21.15107/rcub_jdb_657 .

TY  - JOUR
AU  - Rajner, Mirjam
PY  - 1992
UR  - https://www.jevrejskadigitalnabiblioteka.rs/handle/123456789/151
AB  - Život jevrejskih zajednica u dijaspori bio je vekovima određen postojanjem izdvojene četvrti grada, geta, sinagoga i jevrejskog groblja, tri celine koje su predstavljale međe života zajednice, podređenog manje ili više verskim pravilima.
U ovom radu, čija je tema vezana za jevrejska groblja na području Beograda od prvih zabeleženih naseljavanja Jevreja u ovaj grad do danas, pratićemo taj vid aktivnosti beogradske jevrejske zajednice. Jer mada su groblja povezana sa idejom smrti i nestajanja, posmatrana sa jednog istorijskog, pa i istorijsko-umetničkog gledišta, ona mogu pružiti dragocene podatke upravo o životu Ijudi, o određenom razdoblju njihovog delovanja.
AB  - The introductory part of this essay expounds on the historical origin of the Jewish cemeteries and the data on the types of tombstones. The symbols on the Ashkenazic and Sephardic tombstones are also described.
By comparison of the XVII century plans of the Belgrade town and its fortress the oldest Jewish cemetery in Belgrade can be located on the bank of the Sava river; a few XVII century gravestones are still existent. There are conjectures that during the XVII century the impact of the great number of Sephardim who have settled in Belgrade has caused the transferring of the Jewish quarter onto the bank of the Danube river and thus the cemetery was also moved to that part of town. The third Jewish cemetery situated in Belgrade since the beginning of the XVII century is the Palilula Jewish cemetery and its existence can be followed in continuity since the town plans from 1668 till the thirties of the present century. In 1820 on this cemetery was held the ceremony of genizah, i.e. the burial of the old Jewish books. The lot where the cemetery was situated was sold and the cemetery was relocated as part of the realization of The Belgrade General Plan. On July 1, 1928 on this cemetery was ceremoniously laid the founding stone for the mausoleum which was intended as the memorial above the crypt on the old cemetery's location. Although planned the monument above the crypt was never built. The lot in the Ruzvelt street where the Sephardic cemetery is located today was bought in 1888. Right on the other side of the same street is the Ashkenazic cemetery. Some older and more important grave markers have been transferred from the old Palilula cemetery. On the new Jewish cemetery are the gravestones relevant for their ornamental decorations, shape, and symbols; there are also some monuments designed by eminent sculptors like Petar Palavicini, Nandor Glid, and Aleksandar Zarin. On the cemetery are also the monuments commemorating the victims of the First and Second World Wars.
PB  - Beograd : Savez jevrejskih opština Jugoslavije [Federation of Jewish Communitues in Jugoslavia]
T2  - Zbornik 6 : Studije, arhivska i memoarska građa o istoriji beogradskih Jevreja, Jevrejski istorijski muzej - Beograd = Jewish studies 6 : Studies, archival and memorial materials about the history of the Jews in Belgrade, Jewish historical museum - Belgrade
T1  - Jevrejska groblja u Beogradu
T1  - Jewish cementeries in Belgrade
SP  - 201
EP  - 214
IS  - 6
UR  - https://hdl.handle.net/21.15107/rcub_jdb_151
ER  - 

@article{
author = "Rajner, Mirjam",
year = "1992",
abstract = "Život jevrejskih zajednica u dijaspori bio je vekovima određen postojanjem izdvojene četvrti grada, geta, sinagoga i jevrejskog groblja, tri celine koje su predstavljale međe života zajednice, podređenog manje ili više verskim pravilima.
U ovom radu, čija je tema vezana za jevrejska groblja na području Beograda od prvih zabeleženih naseljavanja Jevreja u ovaj grad do danas, pratićemo taj vid aktivnosti beogradske jevrejske zajednice. Jer mada su groblja povezana sa idejom smrti i nestajanja, posmatrana sa jednog istorijskog, pa i istorijsko-umetničkog gledišta, ona mogu pružiti dragocene podatke upravo o životu Ijudi, o određenom razdoblju njihovog delovanja., The introductory part of this essay expounds on the historical origin of the Jewish cemeteries and the data on the types of tombstones. The symbols on the Ashkenazic and Sephardic tombstones are also described.
By comparison of the XVII century plans of the Belgrade town and its fortress the oldest Jewish cemetery in Belgrade can be located on the bank of the Sava river; a few XVII century gravestones are still existent. There are conjectures that during the XVII century the impact of the great number of Sephardim who have settled in Belgrade has caused the transferring of the Jewish quarter onto the bank of the Danube river and thus the cemetery was also moved to that part of town. The third Jewish cemetery situated in Belgrade since the beginning of the XVII century is the Palilula Jewish cemetery and its existence can be followed in continuity since the town plans from 1668 till the thirties of the present century. In 1820 on this cemetery was held the ceremony of genizah, i.e. the burial of the old Jewish books. The lot where the cemetery was situated was sold and the cemetery was relocated as part of the realization of The Belgrade General Plan. On July 1, 1928 on this cemetery was ceremoniously laid the founding stone for the mausoleum which was intended as the memorial above the crypt on the old cemetery's location. Although planned the monument above the crypt was never built. The lot in the Ruzvelt street where the Sephardic cemetery is located today was bought in 1888. Right on the other side of the same street is the Ashkenazic cemetery. Some older and more important grave markers have been transferred from the old Palilula cemetery. On the new Jewish cemetery are the gravestones relevant for their ornamental decorations, shape, and symbols; there are also some monuments designed by eminent sculptors like Petar Palavicini, Nandor Glid, and Aleksandar Zarin. On the cemetery are also the monuments commemorating the victims of the First and Second World Wars.",
publisher = "Beograd : Savez jevrejskih opština Jugoslavije [Federation of Jewish Communitues in Jugoslavia]",
journal = "Zbornik 6 : Studije, arhivska i memoarska građa o istoriji beogradskih Jevreja, Jevrejski istorijski muzej - Beograd = Jewish studies 6 : Studies, archival and memorial materials about the history of the Jews in Belgrade, Jewish historical museum - Belgrade",
title = "Jevrejska groblja u Beogradu, Jewish cementeries in Belgrade",
pages = "201-214",
number = "6",
url = "https://hdl.handle.net/21.15107/rcub_jdb_151"
}

Rajner, M.. (1992). Jevrejska groblja u Beogradu. in Zbornik 6 : Studije, arhivska i memoarska građa o istoriji beogradskih Jevreja, Jevrejski istorijski muzej - Beograd = Jewish studies 6 : Studies, archival and memorial materials about the history of the Jews in Belgrade, Jewish historical museum - Belgrade
Beograd : Savez jevrejskih opština Jugoslavije [Federation of Jewish Communitues in Jugoslavia].(6), 201-214.
https://hdl.handle.net/21.15107/rcub_jdb_151

Rajner M. Jevrejska groblja u Beogradu. in Zbornik 6 : Studije, arhivska i memoarska građa o istoriji beogradskih Jevreja, Jevrejski istorijski muzej - Beograd = Jewish studies 6 : Studies, archival and memorial materials about the history of the Jews in Belgrade, Jewish historical museum - Belgrade. 1992;(6):201-214.
https://hdl.handle.net/21.15107/rcub_jdb_151 .

Rajner, Mirjam, "Jevrejska groblja u Beogradu" in Zbornik 6 : Studije, arhivska i memoarska građa o istoriji beogradskih Jevreja, Jevrejski istorijski muzej - Beograd = Jewish studies 6 : Studies, archival and memorial materials about the history of the Jews in Belgrade, Jewish historical museum - Belgrade, no. 6 (1992):201-214,
https://hdl.handle.net/21.15107/rcub_jdb_151 .

TY  - JOUR
AU  - Rajner, Mirjam
PY  - 1987
UR  - https://www.jevrejskadigitalnabiblioteka.rs/handle/123456789/144
AB  - Subotica je u periodu kraja XIX i početka XX veka bila najpre treći, a zatim četvrti grad po veličini u tadašnjoj Mađarskoj. Kao i u mnogim drugim gradovima tadašnje Ugarske, istoricizam u arhitekturi (barokna katedrala, klasicističko pozorište) bio je veoma omiIjen, ali je u razdoblju od 1891. do 1914. nastala jedna neuobičajena grupa objekata u samom centru Subotice i na obali jezera Palić. Njihovi tvorci su Lehner (Odon Lechner 1845-1914) i njegovi sledbenici koji su nastavili istraživanja u ovom pravcu. Te građevine, pretežno zgrade za javnu namenu, zatim nekoliko manjih stambenih zgrada, nastale su u vreme prodiranja secesije u vojvođanske krajeve, ali osobene secesije koja se ne može upoređivati sa bečkom. Veoma često je nazivaju i "mađarskom varijantom" ili "nacionalnim stilom"...
AB  - The synagogue is a proportioned, symmetric one-floor building. The central dome has a diameter of 25 meters and has a dominant position relative to the four smaller corner domes built on raised lateral expanses. The western facade with the main entrance in it is facing the October Revolution Square. It is very richly indented. On the ground floor level has a three-part portal above which at the first-floor level there is a wide attic ending with a lacelike two-part arch. In the middle of the attic, a wide rosette with a stained glass window is placed. The northern and southern parts of the building are identical and the basic elements of the front are repeated in them, the portal, the attic, the rosette etc. The dome is the domineering element of the building. It has three parts. Raises from an octagonal tambour with wide windows which allow plenty of light to enter the inside. The first part is made up of eight slender ribs covered with two-colour ceramic bricks. The ribs are narrowed at their top ends where the dome’s second part begins with eight ribs in baroque style which again have on their top-end a convex-shaped lantern. The dome's construction is a masterpiece and a rarity in that area at that time.
The decoration is rich, both inside and outside. Outside is well measured, harmonious, while the inside is many-coloured and this is made even more expressive by the light which penetrates through many windows. The terracotta decorative pieces and the coloured enamelled bricks were made in the Zsolnai factory in Pecs, Hungary. The stained glass is the work of Miksa Rot, a local craftsman. Due to its exterior, innovations in construction and well-selected decorations the Subotica synagogue is given a special place in the development of synagogal architecture in Vojvodina. The fact that the Hungarian secessionist style was selected serves to indicate the taste and predilection of the Jewish community in Subotica and the influence it was exposed to at the beginning of the century.
T2  - Zbornik 5 : Studije, arhivska i memoarska građa o istoriji subotičkih Jevreja, Jevrejski istorijski muzej - Beograd = Jewish studies 5 : Studies, archival and memorial materials about the history of the Jews in Subotica, Jewish historical museum - Belgrade
T1  - Sinagoge sa kupolom na području Jugoslavije (kraj XIX i početak XX veka)
(Iz diplomskog rada odbranjenog na Filozofskom fakultetu u Beogradu u junu 1982.)
T1  - Domed synagogues in Yugoslavia (From graduation paper the author defended at the Belgrade Faculty of Philosophy in June 1982)
SP  - 218
EP  - 225
IS  - 5
UR  - https://hdl.handle.net/21.15107/rcub_jdb_144
ER  - 

@article{
author = "Rajner, Mirjam",
year = "1987",
abstract = "Subotica je u periodu kraja XIX i početka XX veka bila najpre treći, a zatim četvrti grad po veličini u tadašnjoj Mađarskoj. Kao i u mnogim drugim gradovima tadašnje Ugarske, istoricizam u arhitekturi (barokna katedrala, klasicističko pozorište) bio je veoma omiIjen, ali je u razdoblju od 1891. do 1914. nastala jedna neuobičajena grupa objekata u samom centru Subotice i na obali jezera Palić. Njihovi tvorci su Lehner (Odon Lechner 1845-1914) i njegovi sledbenici koji su nastavili istraživanja u ovom pravcu. Te građevine, pretežno zgrade za javnu namenu, zatim nekoliko manjih stambenih zgrada, nastale su u vreme prodiranja secesije u vojvođanske krajeve, ali osobene secesije koja se ne može upoređivati sa bečkom. Veoma često je nazivaju i "mađarskom varijantom" ili "nacionalnim stilom"..., The synagogue is a proportioned, symmetric one-floor building. The central dome has a diameter of 25 meters and has a dominant position relative to the four smaller corner domes built on raised lateral expanses. The western facade with the main entrance in it is facing the October Revolution Square. It is very richly indented. On the ground floor level has a three-part portal above which at the first-floor level there is a wide attic ending with a lacelike two-part arch. In the middle of the attic, a wide rosette with a stained glass window is placed. The northern and southern parts of the building are identical and the basic elements of the front are repeated in them, the portal, the attic, the rosette etc. The dome is the domineering element of the building. It has three parts. Raises from an octagonal tambour with wide windows which allow plenty of light to enter the inside. The first part is made up of eight slender ribs covered with two-colour ceramic bricks. The ribs are narrowed at their top ends where the dome’s second part begins with eight ribs in baroque style which again have on their top-end a convex-shaped lantern. The dome's construction is a masterpiece and a rarity in that area at that time.
The decoration is rich, both inside and outside. Outside is well measured, harmonious, while the inside is many-coloured and this is made even more expressive by the light which penetrates through many windows. The terracotta decorative pieces and the coloured enamelled bricks were made in the Zsolnai factory in Pecs, Hungary. The stained glass is the work of Miksa Rot, a local craftsman. Due to its exterior, innovations in construction and well-selected decorations the Subotica synagogue is given a special place in the development of synagogal architecture in Vojvodina. The fact that the Hungarian secessionist style was selected serves to indicate the taste and predilection of the Jewish community in Subotica and the influence it was exposed to at the beginning of the century.",
journal = "Zbornik 5 : Studije, arhivska i memoarska građa o istoriji subotičkih Jevreja, Jevrejski istorijski muzej - Beograd = Jewish studies 5 : Studies, archival and memorial materials about the history of the Jews in Subotica, Jewish historical museum - Belgrade",
title = "Sinagoge sa kupolom na području Jugoslavije (kraj XIX i početak XX veka)
(Iz diplomskog rada odbranjenog na Filozofskom fakultetu u Beogradu u junu 1982.), Domed synagogues in Yugoslavia (From graduation paper the author defended at the Belgrade Faculty of Philosophy in June 1982)",
pages = "218-225",
number = "5",
url = "https://hdl.handle.net/21.15107/rcub_jdb_144"
}

Rajner, M.. (1987). Sinagoge sa kupolom na području Jugoslavije (kraj XIX i početak XX veka)
(Iz diplomskog rada odbranjenog na Filozofskom fakultetu u Beogradu u junu 1982.). in Zbornik 5 : Studije, arhivska i memoarska građa o istoriji subotičkih Jevreja, Jevrejski istorijski muzej - Beograd = Jewish studies 5 : Studies, archival and memorial materials about the history of the Jews in Subotica, Jewish historical museum - Belgrade(5), 218-225.
https://hdl.handle.net/21.15107/rcub_jdb_144

Rajner M. Sinagoge sa kupolom na području Jugoslavije (kraj XIX i početak XX veka)
(Iz diplomskog rada odbranjenog na Filozofskom fakultetu u Beogradu u junu 1982.). in Zbornik 5 : Studije, arhivska i memoarska građa o istoriji subotičkih Jevreja, Jevrejski istorijski muzej - Beograd = Jewish studies 5 : Studies, archival and memorial materials about the history of the Jews in Subotica, Jewish historical museum - Belgrade. 1987;(5):218-225.
https://hdl.handle.net/21.15107/rcub_jdb_144 .

Rajner, Mirjam, "Sinagoge sa kupolom na području Jugoslavije (kraj XIX i početak XX veka)
(Iz diplomskog rada odbranjenog na Filozofskom fakultetu u Beogradu u junu 1982.)" in Zbornik 5 : Studije, arhivska i memoarska građa o istoriji subotičkih Jevreja, Jevrejski istorijski muzej - Beograd = Jewish studies 5 : Studies, archival and memorial materials about the history of the Jews in Subotica, Jewish historical museum - Belgrade, no. 5 (1987):218-225,
https://hdl.handle.net/21.15107/rcub_jdb_144 .