"The Sacrifice of Isaac"
Christine TackeThe state of Israel has never yet found peace since its foundation. Young soldiers still die in the struggle for the continued existence of their country. When the son of Maneshe Kadishman was conscripted for military service, his father experienced the anxiety of all fathers for the life of their sons. The inner conflict between fulfillment of a duty towards the state, the people or the community on the one hand and individual well—being on the other hand was already portrayed in the biblical story of lsaac's sacrifice. In relation to this image with which he was particularly familiar, because he and his son stood as models in 1973 for the sculpture Isaacs Sacrifice by George Segal (1), he now faced his own acute personal situation. Through the sublimation as art he was able to generalize his personal problem to the extent that it is now comprehensible for any observer or at least opens his mind to think about solutions of his own.
The dramatic story in the first book of Moses with "its suggestive power of the unspoken, demanding brooding depth and interpretation"(2) has lost nothing of its impact even to the present day. Theologists, philosophers, psychologists, poets, musicians and sculptors have studied this sacrifice and interpreted its meaning, each their own way. The discussion of the sacrifice of Abraham has never ceased from the time as far back as traceable in Jewish bible interpretations and since the gospel writings and the Epistles of the Apostles(3) in the New Testament. The mental distress induced by this story is the same, whether experienced in the 4th century after Christ by the ecclesiastical father Gregor von Nyssa or in the 19th century by Soren Kierkegaard. Gregor von Nyssa was unable to read it "without shedding tears;"(4) Kirkegaard struggles with the question of human guilt involvement between duty and responsibility: "Countless generations have known the story of Abraham by heart, word for word; how many sleepless nights did this cause?" (5) But in his treatise Fear and Trembling he admits perplexed: "I cannot understand Abraham, in a certain sense I cannot learn anything from him except amazement." (6)
The oldest post-biblical writings which have survived to the present day, such as the Jubilees Book(7) from the 2nd century after Christ, the book on Abraham by Philo the Elder(8) from the 1st century after Christ and the book Jewish Archaeological Relics by Flavius Josephus(9) shortly after the beginning of the new counting of the years, tell of Abraham and of Isaac willing to be sacrificed, as do the numerous Jewish sayings which have developed over the generations by word of mouth(10). Countless interpretations followed in the Midrashim during rabbi times. The story of Genesis is thereby supplemented with a wealth of details(11), because the brief form in the Bible left so many questions open.
The Christian literature on this subject is extremely proliferous too, but of course the interpretation is different in theological understanding, because for Christians the Bible they call the "Old Testament" cannot be read without reference to the "New Testament" in which the old covenant of God with Abraham is succeeded by the new covenant through Christ. Whereas the "Old Testament" retains its validity for Christians too, it is nevertheless only the prelude for the "New". Abraham, who is prepared to sacrifice his son, is seen as the great example for the believer; his sacrifice of Isaac is seen as the precursor of the sacrifice of Christ by his Godly Father. Through subordination of the "Old Testament" under the "New Testament," the story of Genesis has for Christians lost the significance for fundamental existence which it has for Judaism.
With this sacrifice the history of Israel is linked in a very special and direct manner in the past, present and future. The status of the chosen people and the promised land(12) as well as the future redemption(13) are based on this story. The present seemingly irresolvable problems of the State of Israel with its Islamic neighbors stand in tragic correspondence to Abraham's sacrifice which each of the two religions claims for itself, because this story is found not only in the Bible, but in the same form in the Koran too(14). However, according to the majority interpretation the sacrificed person in the Koran is not Isaac, but instead Ismael, the first son of Abraham born of Hagar, who became through this sacrifice the specially chosen original father of the Moslems.
Wars fought for territory pervade human history from the earliest times and are still common today. Those who die in battle are called "war sacrifices" in literal translation of the German equivalent for war victims, expressing that their death was a sacrifice for the state, for society, for an ideology. This is to be seen against the background of the common conception of all human societies, that there must be a reason for the death of a person, a justification through a higher-ranking moral value. The question of ranking ethical laws is certainly different according to the initial assumptions of the questioner. If he assumes a moral code and order given by God, he will assess the question differently than if the initial assumptions were based on order defined by human beings. Conflicts which cannot be resolved unambiguously can arise in both systems. The classical example of this is the tragic hero of ancient tragedies who become guilty regardless which choice he makes.
The English poet Wilfred Owen(15) was deeply concerned at the end of the first world war with the question of whether it is possible to have a justifying reason for a war in which so many persons must die, after the initial euphoria with which all parties embarked on the "just" war(16) had given place to horrified rejection.
The Parable of the Old man and the Young
So Abraham rose, and clave the wood, and went
and took the fire with him, and a knife.
And as they sojourned both of them together
Isaac the first born spake and said, My Father,
Behold the preparations, fire and iron,
But where the lamb, for this burnt-offering?
Then Abram bound the youth with belts and straps,
and builded parapets and trenches there,
and stretched forth the knife to slay the son.
When lo! An Angel called him out of heaven,
Saying, Lay not thy hand upon the lad,
neither do anything to him, thy son.
Behold! Caught in a thicket by its horns,
A Ram. Offer the Ram of Pride instead.
But the old man would not so, but slew his son,
and half the seed of Europe, one by one.
After two millennia of uprooting and dispersion throughout the world, the People of Israel today find themselves again in the battle for the Promised Land and their very existence there. Memories awaken of the expulsions after the first and second destructions of the temple, of Massada and the numerous persecutions of the Jews in the Roman Empire, of the endless persecutions throughout Europe in the Middle Ages right up to the holocaust of our days. In Massada as well as during the medieval persecutions, many Jews preferred to die voluntarily as martyrs — in expectation of a resurrection according to the former case of Isaac — instead of renouncing their religious belief(17). Many songs of lamentation, the Seilcha, speak of this manifestation of faithfulness. The following elegy originates from Gershom of Jehuda who died in 1038:
Remember O Lord, Abraham's bond,
Remember lizchak who was to, in order to fulfill your
Word,
The flights of Jacob release your mouth,
Save us for the sake of your Name!
Driven away from the treasured domicile,
We fled away in hasty speed!
No longer sounds the prophets word .
and tells us reassuringly of the redemption to come.
............................................
Remember O Lord, the eternal covenant
Which you have made with our fathers!
Think of the martyrs, O Lord, who this hour
have shed their blood for your glory (18)
Conflicts of human beings who nearly doubted their belief are voiced, too, such as the French Jew Meier(19) of the 11th century:
Sighs, whining, wailing cries!
Swords clash. Which strike down my poor people.
Which the murderers — still dare to scorn and jeer.
The horrified, tired hunted— expelled from the land!
Rocky cliffs — bleeding, where we lay dying —
Can you, O Lord, tolerate this?
After this long history of persecution of the people, who would deny the present population of Israel the right to defend itself? Yet part of Judaism sees just this as conflict. Long before Israel became a state, Franz Rosenzweig anticipated the precarious situation of a state which must defend its territorial existence. In his book The Star of Redemption he points out that the Jewish people differ from other communities in that they see the "assurance of their eternity" in the existence of their people, even if scattered, and not in the possession of a territory or sovereignty. "The peoples of the world fail to be satisfied with their common blood heritage;. . .their determination for eternity clasps their territorial land and power therein. The blood of their sons is shed for the soil of the fatherland; for they do not trust the living community of their blood which does not need to be anchored in the soil of a fixed location on Earth. We alone trust our blood and left the land ... because the soil nourishes, but it also binds, and when a people loves the soil of its homeland more than its own life, it is always in peril — and this peril looms over all peoples of the world, so that . . . the own life of the people wastes thereon."(20)
Even if one admits the right of self defense as generally accepted by the world community of nations, there remains the conflict between the state and the individual conscripted by the organization for defense. Above all, when the individual has a quite different opinion as to what is appropriate for defense there arises the question, to what extent the individual must subordinate him self to the state. The rights of the State are not necessarily identical to justice. The question of just action by the state and by the individual is a very general problem with many aspects and goes well beyond the question of justified defense. This problem is only accentuated in a special way when the conflict is concerned with defense, because the conflict then involves killing or getting killed.
Menashe Kadishman sees the general problem of subordination or resistance with respect to the legal power of the state. He sees the conflict portrayed in the image of Abraham's sacrifice. "Neither do l consider the story of the sacrifice of Isaac as signifying a divine command or a decree of God. For me it symbolizes the fear of the individual to defy the dictates of society and its conventions(21).
He therewith points out the special aspect of the biblical sacrifice of Abraham which differs profoundly from all other sacrifice stories of the antiquity(22). In all the latter sacrifice stories, the reason for the required sacrifice is stated, and after the action the sacrificing person receives the desired or promised reward for his sacrifice(23) The situation is quite different for the sacrifice by Abraham: he is willing to sacrifice without reward, and he sacrifices not only his son, but with him his future promised by God. By killing his son he kills his future generations and thus in effect himself(24). A man who sacrifices his son, sacrifices himself Both are victims(25).
In his image of the sacrifice Maneshe Kadishman is concerned with this self-renouncement without resistance, not with it as an example of the strength of belief as in Christian art(26) or as symbol or promise and salvation as in Jewish art. In the story of Genesis the command of God has priority over all other commands, even over the command forbidding killing. However, Kadishman is not depicting the biblical story, but instead is questioning just action of the individual according to the ethical codes of our societies.
This question goes beyond the current politicalsituation in Israel which gave Kadishman the impulse for this type of image. The problem of "just" killing will always remain acute in the rest of the world, too. But this image of sacrificing the future has a further significance beyond this: killing of the children need not necessarily take place on the battlefield; ruthless exploitation and destruction of the Earth deprives our children of the facilities for living in the future. We live today at the expense of future generations. We sacrifice them for our own egoistic indulgence.
When Maneshe Kadishman symbolizes this problem with Abraham's sacrifice, he is seeing therewith the numerous image representations familiar throughout the history of art. At the beginning of this image development we astonishingly(27) find Jewish art: the mural paintings of the synagogue of Dura-Europos dating around 245 A.D.,(28) engraved gems, amulets, golden vessels and the mosaic floor of the synagogue in Beth Alpha dating to 517 A.D. Christian art developed after the end of persecution of Christians and particularly rapidly after promotion of the Christian religion as state religion. Initially Abraham's sacrifice was depicted primarily in sepulchral art, in the paintings of the catacombs(29) on sarcophagi(30) and on vessels and rings commemorating the dead. Thereafter the church interiors were decorated with mural paintings(31) and mosaic floors(32). Chapters(33), church portals(34) and glass windows(35) tell stories from the Bible. Gothic churches then also carried external sculptured decoration(36). Church utensils such as portable altars, fonts, crucifixes, chalices, candlesticks as well as pews and pulpits were decorated with Abraham's sacrifice(37). Manuscript Bibles and Psalters were illustrated therewith. Countless depictions appeared in the books after the invention of printing. Pictorial depictions of Abraham's sacrifice appeared in Jewish writings(38), too since the 12th century, and since the 'l8th century also on sacral objects such as Torah shields, Torah mantles, circumcision knives, belt buckles(39) and Kiddush cups(40). Even more well—known than all these numerous depictions are the paintings and sculptures of individual artists since the 15th century; to mention just a few: paintings by Nlantegna, van Eyck, Nlemling, Cranach, `Rtian, del Sano, Veronese, Caravaggio, Annibale and Ludovico Carracci, Rubens, Rembrandt, Chagall, and sculptures by Brunelleschi, della Ouercia, Donatello and George Segal.
The forms of representation do not differ greatly in the course of the centuries. They are mostly recognizable on first impression. Abraham has usually raised a knife or sword in his right hand in order to kill Isaac therewith in the next instant. Isaac stands, kneels or lies(41) in front of Abraham on an altar with his hands bound, usually at his back. A hand over both, as symbol for God or his message, or an angel, commands Abraham to stop in the last moment and not carry out the sacrifice. The ram as substitute sacrifice is usually standing nearby and in many cases the angel points to the ram. In some pictures (especially in Islamic depictions) the angel himself brings the ram.
With two paintings dated 1983 and 1984(42) Maneshe Kadishman still follows the traditional form. The first picture shows Abraham between his son and the ram. In the second picture Isaac kneels in front of Abraham with his hands bound at his back. Abraham is holding the sacrificing knife and the ram is seen behind Isaac. An angel with wings spread wide is hovering above the group.
In terms of contents as well as artistically, Kadishman reaches entirely different conclusions in all other works on the subject of the "sacrifice of Isaac". Whereas all earlier works in the history of art show the dramatic climax of the last second between life and death, the sacrifice has already been made in Kadishman's depictions. Isaac lies dead on the ground and the ram is walking around alive as the winners who even appears to be in a triumphant mood as in the picture of 1986(44). The scene is reduced to the bare essentials without any narrative. In the steel sculpture of 1982-1985, which is now erected in front of the Tel Aviv Museum, the head of Isaac is lying on the ground with the upright head of the ram rising adjacently, and two grieving women are standing in the background. In a model for this sculpture dating back to 1984(45) Isaac's head is lying on a heap of broken glass like a battlefield — a very impressive painting showing how delicate the problem is or how fragile the ground is on which we stand.
The scene is shown even more radically in the steel sculpture of 1986 and in the similar one of 1988 in New York's Central Park. The two bodies of Isaac and the ram are merged as a single figure; the defeated victim and the winner are linked in an irresolvable mutual fate. The grieving women embodying an element of sympathy are no longer present. The complete silence of death surrounds the two who are the sole actors left. The traditional main figure of Abraham has vanished out of these images and with him the concept 0f an ideal or hero. Anybody could now be the one who has sacrificed his son. Since there is no reference to any relation with God, the reason for the sacrifice is left open, too. No angel who could bring salvation is there any longer.
The clear construction of the large steel sculptures in which all non-essentials are omitted, leads to full concentration on the two concerned. The monumental size of the heads and the brutality with which they have been cut out of the material, give rise to an image of archaic simplicity. The roughness of the rusted metal is reminiscent of the interpretation" of Jochamin den Zakkai, a scholar of Hillei (from the time of the conquest of Jerusalem), according to which iron is used in times of war and therefore reminds of God's judgment for punishment. The shape of the enormous horns of the ram also gives the impression of an angel of wrath or of the spread wings of the archangel Michael at the Last Judgment where the good people are separated from the evil ones(47). The spread arms and wings of the angel hovering over Isaac in the sacrificing scene as painted by Nlachsor in 1348(48) is reminiscent of the ram's horns as depicted by Kadishman.
The sacrifice of Isaac as depicted by Kadishman can be understood only in relation to the conventional presentation. The significance of the abstraction and deviating contents becomes evident only then. With his dramatic brevity Kadishman corresponds to the biblical narrative. The greater the concentration in the presentation, the more open is the possible interpretation. This is a challenge to the viewer, to fill in the details from his own deliberations. It could be the victory of society over the individual, or the loss of courage of one's own convictions in relation to the authorities. Or it might be the inner compulsion for blind obedience, the victory of primitive animal instincts or irrational trends over rational humane behavior, death as the consequence of despising life or through ideological blindness and fanaticism. These and many more associations arise. The Sacrifice of Isaac by Maneshe Kadishman shows all the problems of the world compacted into a single image.
Just as Kadishman questions the dictates of society and its conventions(49) so does Woody Allen go into opposition against them in the scrolls:(50)
. . But at the last moment the Lord held out his
hand and spoke: 'How could you come to do such?'
And Abraham spoke: 'But you said . . . ' 'Never mind
what I said,' spoke the Lord, 'do you really listen to
every insane idea which happens to cross your
way?' And Abraham was ashamed: 'Hm —
inappropriate . . . no.' 'Just as a joke I suggest that you
should sacrifice Isaac, and you immediately rush out
and do it.' And Abraham fell on his knees and plead-
ed: 'Don't you see, I cannot tell when you are joking.'
And the Lord thundered: 'No sense of humor! I just
can't believe it.' 'But doesn't it prove that I love you,
as I was willing to sacrifice my only son as present
to your whim?' And the Lord spoke: 'lt proves that
some persons will obey any command, regardless
of how damned stupid it is, provided that it comes
from a sonorous melodious voice'."
As far as I am concerned, the merged suffering figure of Isaac and the ram shows an ambivalent attitude. The sculpture of the two united bodies appears to be attached to the steel structure as if their roles could be swapped. Isaac could then be the survivor and there would be peace. Mahmud Doulatabadi from Iran dreams of such a change of direction towards peace, unity and love with the words of an Iranian mystic of the 9th century:(51) "Unite yourself with love to experience miracles".
Just this is what Maneshe Kadishman's work of art is expressing: "I do not recall my life and my country without war. But I am allowed to dream of it..."'(52)
1. Sculpture by George Segal, 1973, in the foyer of the philharmonic hall in Tel Aviv.
2. Erich Auerbach, ll/Iimesis, Bern/lV|unich, 6th. Edition 1977, page 17.
3. Epistle to the Hebrews 11, 17-19; Epistle to the Romans 4, 1-15; Epistle to the Galatians 3,6; Epistle of Jacob 2, 21-23.
4. Quotation from Hans-Jurgen Genscher, "The problem of Typology in the Oldest Christian Art," Thesis, Heidelberg 1964, page 90.
5. Soren Kierkegaard, Fear and Trembling, Gutersloher pocket book, no year, page 24.
6. Soren Kierkegaard, ibid, page 36. On page 58 he writes that Abraham is lost if his action is not based on the belief in God's love.
7. Ancient Jewish Literature Beyond the Bible, translated by Paul Riessler, Freiburg/Heidelberg, 1928.
8. Paul Riessler, ibid.
9. Translated by Heinrich Clementz, Wiesbaden1T 4th edition 1982.
10. Thus collected, for example, in Sayings of the Jews by Ben Gurion, I-VI, Frankfurt/Main 1916-1921.
11. For example, the devil is introduced into the story as the source of temptation. New speculations continually arise about the age of Isaac and the question is raised whether Abraham knew that God would not allow the sacrifice and whether Isaac knew that he was to be sacrificed.
12. The covenant made between God and Abraham in Genesis 15, 18-21 and Genesis 17,2 ff: "l will give this land to your seed, from the waters of Egypt to the great waters of the Euphrates" is renewed after the test of obedience: " . . . that I will bless and multiply your seed like the stars of the firmament . . . and through your seed all peoples of the Earth shall be blessed, because you have obeyed my voice," Genesis 22, 18. According to Martin Buber the ori-
gin of the Jewish people is traced back to Abraham: For the story of Abraham, MGWJ 83 (1939), 47-65.
13. The Shofar was sounded at the new year festival in the temple in remembrance of the sacrifice of Isaac so that God will put mercy before judgement and forgive the sins.
14. In the 37th sura, verse 102-111. Although no name of the child to be sacrificed is stated in this sura, the Mohammedans are sure that Ismael must be meant, because his son Isaac is announced to Abraham only in the subsequent verses.
15. Wilfried Owen, The Complete Works, London 1964.
16. In Germany under the motto: "For the people and the fatherland."
17. A detailed presentation is given by L. Zunz, The Medieval Synagogue Poetry, Frankfurt/Main, edition 1920, page 16 ff. According to Zunz, later teachers of the law
declared that such suicides and the killing of one's own children are legally permitted; Place Recanata 69.70.
18. lsmar Elbogen, "Services and synagogue poetry," in Publications on the Jewish religion, Znd year, issues 6 and 7, page 64 ff.
19. lsmar Elbogen, ibid, page 65.
20. Franz Rosenzweig, The Star ofliedemption (first issue 1921), Frankfurt/Main 1988, page 332.
21. Kadlshman. Text in German and English inthe catalog for the Jewish Cultural Days in Berlin 1988.
22. The best-known examples to be mentioned here: the sacrifice of lphigenia by her father Agamemnon, Aischylos, Issue 1927, and Jephthah's sacrifice of his daughter,
Judges 11, 31.
23. In the case of Jephthah, victory over the Ammonites is assured after his promise: "What comes out of the door of my house to meet me when I return with peace . . . shall belong to the Lord, and I will sacrifice it as a burnt offering."
24. The examination by God is no reason, because Abraham does not know that he is being examined.
25. Kadishman first wrote his own thoughts about this in the catalog Myth Transformed, the Tel Aviv Museum,1987.
26. Initially Abrahams sacrifice was understood as symbol for the resurrection, only later as typological representation of Christ sacrificed by God the Father. The interpretation reverted to the ideal believer image of Abraham mainly through the Reformation and subsequent Counter-Reformation.
27. In spite of image (idol) prohibition inthe Jewish religion, examples of Jewish art have survived from the first six centuries after Christ (for example the mosaic floor of
the synagogue in Beth Alpha dated around 517 AD. According to majority opinion, Christian art developed out of Jewish art. The beginnings are obscure, but it is generally assumed that they were Bible illustrations which could have developed in the Jewish communities in
Egypt. Since the first Christians came from Jewish communities, perhaps their iconography was taken over into Christian art. However, so far there are no proofs for these speculations, but it is certain that mutual competition was fruitful for art.
28. The city on the Euphrates was a Hellenic foundation which was controlled by the Parthans and later by the Romans. The appearance of the synagogue was shortly before the conquest by the Sassanides in the year 256. The paintings have survived because the room was buried for defense purposes. Today the synagogue has been rebuilt in the New Museum in Damascus.
29. For example in Egypt in a sepulchral chapel in El-Bagawat and in numerous catacombs in Rome.
30. In Rome alone, more than 50 sarcophagi with Abraham's sacrifice have survived.
31. Mosaics in San Vitale around 540 and in S. Apollinare in Classe, Ravenna, from the 7th century are the oldest still existing examples. Frescos from the Carolingian era have survived in Munstair, Switzerland, and numerous medieval mural paintings have survived in Italy, Germany, France, Spain, Greece, Crete,,Armenia, Serbia and Bulgaria. In Sicily we know of the mural paintings in the Capella Palatina in Palermo from 1135 and in Monreale from 1190.
32. For example in the cathedral of Reims from the late12th century and in the cathedral of Siena from the 16th century.
33. Numerous chapters with Abraham's sacrifice are found in Romanesque churches on the French pilgrims' way to Santiago di Compostela in Spain.
34. Bronze door of the Santuario di S. Michele on the Monte Sant'Angelo from 1078; the two bronze doors of S. Zeno in Verona from around 1100 and 1200; the bronze door of Monreale from 1168; the paradise door of the Baptisterium in Florence by Lorenzo Ghiberti from 1452.
35. For example in the cathedrals of Chartres, Bourges, Canterbury, Sens, Dijon, Cologne, Paris, Windsor and Auxerre, all from the 12th century.
36. For example the famous figures of Chartres.
37. Abraham's sacrifice is rarely depicted alone, but mostly together with other images which either typologically refer to the death of Christ or just show the Bible in pictures.
38. For example some pentateuchs from the British Museum, the Shoken Bible of Jerusalem, various Machsor and Haggadahsschnitu.
39. For example the belt buckle of the day of atonement from Poland dating back to 1802 and now in the Israel Museum in Jerusalem, or the silver buckle from Lemberg dating back to 1826 with the Hebrew inscription: "For on this day (on the reconciliation day of Jom Kippur) He will
reconcile you.", today in the Max Berger collection in Vienna.
40. For example the Kiddush cup of Nuremberg from 1675, now in the Jewish Museum in New York, and a second one also from the 17th century, now in the Israel Museum in Jerusalem.
41. ln the Jewish depictions, in most cases Isaac lies on his back on the altar.
42. Illustration in the catalogue of the Jewish Cultural Days - An from Israel, Berlin 1988.
43. According to some interpretations in the Midrash and Talmud, Isaac was slaughtered or at least wounded. Mekilta de R.S.b. Jochel; Tench. Wajjera 23; cited according to Rolf»Peter Schmitz, Aqedat Jisheq, Hildesheim 1979, page 156. In the synagogue of Beth Alpha Isaac has wings which carry his soul to paradise after his death, from where he returns only after some time. According to the interpretation of Fl. Jehuda: "As the sword came to his neck, the spirit of Isaac was released and went out." In PRE 31, cited according to Gunter Stemberger, the patriarchal images of the catacombs in the Via Latina inthe light of Jewish tradition, Kalros 1960, page 64.
44. Illustration in the catalogue Menashe Kadishman, The Tel Aviv Museum, 1987.
45. Illustration in the catalogue ofthe Jewish Museum of New York City, 1985.
46. From Exodus 20, 25.
47. The most famous depiction is undoubtedly the picture by Rogier van der Weyden from around 1450, today in the Hotel Dieu, Beaune.
48. Macheor, Germany, Hammelburg, parchment, Hessian State and University Library, Darmstadt, Cod.Or.13 fol. 202v. Illustration: Jewish worlds of life, Berlin 1991, page 117.
49. See footnote 21.
50. In the Big Book of Jewish Humour by William Novak and Mosche Waldoks, 1981 (German: 1982, published by Athenaum Verlag in Konigstein).
51. Lecture paper at the International Meeting of writers in Munich on the occasion of the 3rd Spring Book Week in March 1992, published as abbreviated version in the week-end supplement ofthe Suddeutsche Zeftung newspaper on 28.3.1992.
52. Menashe Kadishman, catalogue of The Tel Aviv Museum, 1967.