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Tag: street art

Bucharest a city of contrast

Bucharest a city of contrast

There is an abundance of street art in Bucharest. (photo by Deborah Rubin Fields)

What could be more Israeli than the hora? Well, truth be told, the hora is not Israeli! The word hora comes from Romania. And, like the origins of the hora, the Romanian capital, Bucharest, is a place where the unexpected should be expected.

When you walk along Bucharest’s broad boulevards, one word comes to mind – palatial. There is the former Cantacuzino Palace, today’s George Enescu National Museum; the Elisabeta Palace, the private residence of the former Queen Elizabeth of Greece (born Princess Elisabeta of Romania), following her 1935 divorce from King George II of Greece; the former Royal Palace, today’s National Museum of Arts; the Romanian Athenaeum, today a major concert hall; the Palace of the Deposits and Consignments, still a bank, but today called the CEC Palace; and the Palace of Parliament.

Bucharest once had strong ties to Paris, and French is still mandated in schools. It was called Little Paris, so it should not be a surprise to see that Bucharest’s Manu-Auschnitt Palace is a copy of Paris’s Hôtel Biron (today’s Rodin Museum). While smaller in size, many older private homes were built with stunning stone (perhaps even cement) arches and columns, bas reliefs incorporating figures of lions, men and women, shields, gryphons, eagles, the angel of death, and various free-standing sculptures. In this home, the windows are in national-romantic and neo-Romanian style. Paris-inspired art deco metal work appears on door grills, door overhangs and the tops of buildings. Five classy examples of art deco building in Bucharest are 1 Piata Sfântul Stefan; the Ministry of Justice at 53 Bulevardul Regina Elisabeta; the Telephone Company Building on Calea Victoriei; the “Union” Building on 11 Strada Ion Campineanu; and 44 Calea Calarasilor.

photo - The Old Palace of the Chamber of Commerce in Bucharest, a city full of former palaces
The Old Palace of the Chamber of Commerce in Bucharest, a city full of former palaces. (photo by Deborah Rubin Fields)

In addition to the number of stunning palaces, there is also an abundance of street art. Some of this street art is commissioned and appears on the sides of various buildings. It is often colourful and imaginative. There is, however, a lot of graffiti, which, apparently, began to appear after the 1989 Romanian revolt against the communist regime. Graffiti is illegal, but, as I was told, the consequences depend on the discretion of who catches the graffiti artist or how fast the artist can run.

Jewish presence in Romania dates to Roman times, when the country was a province called Dacia. The first mention of Jews in Bucharest is from the 16th century. Jews came to Bucharest from two directions: Sephardi Jews came from the south, mainly from the Ottoman Empire; later, Ashkenazi Jews came from the north. The latter, from Galicia or Ukraine, settled in Bucharest after having lived in Moldavia. As in other European countries, Jews were at various times tolerated, even integrated into general city life.  At other times, however, they were punished in one way or another.

The Jewish population of Bucharest grew significantly, particularly in the second half of the 19th century. In 1835, some 2,600 Jews lived there; this number jumped to 5,900 in 1860. In the 1800s, nine synagogues were constructed and, by 1900, the total Jewish population had risen to 40,500, making Bucharest by far the largest Jewish community in Romanian territory. By 1930, the city’s Jewish population was 74,480. Jews settled in virtually all the city districts, especially in areas where economic growth was fastest. Bucharest’s Jews laboured as artisans, metalworkers, merchants and bankers.

In the early 19th century, there were several instances in which Jews were accused of ritual murder. This led to violence and pogroms. While, on the books, Jews were to be given citizenship, government after government dragged its feet in making emancipation stick. In general, being Christian was a prerequisite for Romanian citizenship, although a complex naturalization process was theoretically made available to Jews. When, in 1866, Jewish French lawyer Adolph Crémieux came to Bucharest to help push for Jewish political emancipation, rioters attacked Jewish shops and synagogues. Toward the end of the century, many antisemitic organizations existed, due in large part to nationalist leader Alexandru C. Cuza’s political activities. In particular, his followers organized antisemitic agitation against Jewish students at Bucharest University. 

After Germany, Romania is directly responsible for more Jewish deaths in the Shoah than any other country. For most of the Second World War, Romania allied with Nazi Germany. According to official Romanian statistics, between 280,000 and 380,000 Jews were murdered or died in territories under Romanian administration during the war. Antisemitic legislation downgraded the identity of Jewish citizens to second-rate status: they lost the rights to education and health care, their property was confiscated, and they were forced to perform hard labour. In September 1942, approximately 1,000 Jews were deported to Transnistria.

Despite such treatment, most of Bucharest’s large Jewish community was spared the worst horrors of the Holocaust. Between 1941 and 1943, Bucharest-based Chilean charge d’affaires Samuel del Campo saved the lives of more than 1,200 Romanian and Polish Jews by issuing them Chilean passports, thus preventing their deportation to Nazi concentration camps.  A memorial stands in front of the former Ashkenazi Great Synagogue, commemorating the January 1941 paramilitary Iron Guard’s (Legionnaires’) savage murder of 125 Bucharest Jews, an action reminiscent of Nazi techniques, with the skinning of the victims and the hanging of them on meat hooks. 

Shortly after the Second World War, Bucharest experienced a great influx of Jews, as refugees arrived from concentration camps and from several areas in Romania where they continued to feel unsafe. By 1947, the Jewish population had grown to 150,000.

After the first years of the communist regime and the closing of Jewish welfare and religious institutions, Bucharest continued to be a centre of Jewish communal and cultural life due, in large part, to Chief Rabbi Moses Rosen, who coped with the inconsistencies and peculiarities of Romanian official policy – particularly during the 1965-1989 dictatorship of Nicolae Ceausescu. When former US ambassador Alfred Moses first visited Bucharest in 1976, a young Jew approached him saying, “Don’t believe what they tell you. The situation here is terrible, especially for Jews. We are blamed for everything that goes wrong. Help us get out. There is no future for Jews in Romania. Everything you hear is a lie, a lie, a lie.”

After the rebirth of the state of Israel, many Jews made aliyah. By 2000, only 3,500 Jews were left in Bucharest. Today’s Jewish life in Bucharest focuses on three synagogues, a community centre, a kosher restaurant and the Centre for the Study of the History of Romanian Jews. 

In 2021, a Romanian survey reported one-fourth of respondents saying they didn’t know or couldn’t say exactly what the Holocaust was. Another 35% said they couldn’t identify the Holocaust’s significance for Romania. In 2022, the populist Alliance for the Union of Romanians (AUR) opposition party called Holocaust education a “minor topic” when it was mandated in Romanian high schools. This party currently holds 12% of parliament seats and some people predict it will become a major political force in the near future.

On a more positive note, a few years after the death of Jewish Romanian Nobel laureate Elie Wiesel, at age 87, Bucharest memorialized him with a bust in the Piata Elie Wiesel. 

Finally, if you hear what sounds like a Slavic language spoken in Bucharest, it might just be Ukrainian. Since Russia began its attack on Ukraine two years ago, 11,000 Ukrainian men of conscription age have illegally fled to Romania. It is too early to say how this population will impact Bucharest life. 

Deborah Rubin Fields is an Israel-based features writer. She is also the author of Take a Peek Inside: A Child’s Guide to Radiology Exams, published in English, Hebrew and Arabic.

Format ImagePosted on September 20, 2024September 18, 2024Author Deborah Rubin FieldsCategories TravelTags Bucharest, Canadian Jewish Holocaust Survivors and Descendants, history, murals, palaces, Romania, street art
Writing is really on the walls

Writing is really on the walls

An inscription on a water fountain built by Suleiman the Magnificent. (photo by Ariel Fields)

When it comes to Jerusalem, the writing really is on the wall. The problem is, some people (easily recognized, as they go around saying “it’s like talking to a brick wall”) will try to convince you walls can’t tell you anything. Don’t listen. If you ignore Jerusalem’s walls, you’ll miss out. The following matryoshka/babushka story (or story within stories) shows that “walls are the skin of the residents,” as the muralist cooperative CitéCréation is fond of saying.

Admittedly, you might initially doubt whether writing on the wall matters. To quell your uncertainty, here is what Tel Aviv University’s Prof. Jonathan Price has to say: “Inscriptions are an important and unique historical source. They provide information in many areas no other source can provide.”

Thus, while there’s no CD of the trumpet/shofar playing, we know that trumpet blasts from the southwest end of the Temple Mount indicated the beginning and end of the Sabbath. How? In his extensive history, The Wars of the Jews, Flavius Josephus writes about this practice.

The truly astounding physical evidence, however, is a stone carved sign now located in the Roman/ Byzantine section of Jerusalem’s Israel Museum. The inscription on this first century CE stone reads, “‘To the place of the trumpeting.” The stone directed the Temple kohain “trumpeter to the high point on the Temple Mount, where he would announce the beginning and end of the Sabbath.”

An archeologist described its discovery. It was found in the “debris from the dismantled walls, engraved on an eight-foot-long piece of limestone. The stone has a rounded top indicating it was a kind of parapet situated on top of the wall or the tower at the southwest corner of Herod’s giant Temple Mount. Unfortunately, the clearly readable inscription is broken off, so we only have the beginning of it.”

The trumpeter’s corner had a distinct vantage point. From his post, the trumpeter looked out over ancient Jerusalem, from the City of David to the Upper City in the West. When he gave a blast, even the merchants and shoppers in the markets heard.

Moving slightly away from the Old City, we come to an ornate Ottoman inscription just above the southern end of Sultan’s Pool. It reads: “[There] has ordered the construction of this blessed sabil, our master the Sultan the greatest prince and the honorable Khaqan, who rules the necks of the nations, the sultan of the [land of] Rum, the Arabs and the non-Arab [’ajam], the Sultan Suleiman, son of Sultan Selim Khan, may God perpetuate his reign and his sultanate. On the date of the tenth of the month of Muharram the sacred, in the year of 943 [29 June 1536].” (Ottoman Jerusalem, Auld and Hillenbrand, eds., 2000)

This sabil (drinking fountain) served the many passing pilgrims. The Ottoman ruler Suleiman the Magnificent built five more sabils inside the walls of the older city. Moreover, several other sabils (the earliest dating back to the Byzantine period of the sixth/seventh century) have been excavated at this same location.

The drinking fountain’s water came from an aqueduct originating at Solomon’s Pools, near Bethlehem. Importantly, this aqueduct primarily serviced the Temple Mount area. To insure an adequate water supply, Sultan’s Pool (today an outdoor concert venue) was a floodwater reservoir. Just a few years ago, archeologists uncovered a Second Temple period bridge that stood over the adjacent ravine of Ben Hinom Valley. The original bridge maintained the elevation of the path along which the water coursed. In 1320 CE, the Mamluks rebuilt the bridge. Two of the original nine arches supporting the bridge were excavated to their full three-metre height.

A relatively short walk from the fountain, but with a significant leap in time, we arrive at the Hebrew year 5694 (corresponding to 1933-1934). At that time, builders completed work on a structure at 6 King David St. As the country was still controlled by the British (the Mandatory period lasted from Sept. 29, 1923-May 14, 1948), the Hebrew stone dedication might be termed both prophetic and Zionist. The inscription from Psalms 102:15 reads: “Your servants take delight in its stones and cherish its dust.” Heads up, however, to view this stone, as it is high on the right side of the entranceway.

photo - In 2001, the French art group CitéCréation painted a mural depicting the Jerusalem Light Rail system, which didn’t start running until 2011
In 2001, the French art group CitéCréation painted a mural depicting the Jerusalem Light Rail system, which didn’t start running until 2011. (photo by Ariel Fields)

No matter what you think of the Mandatory period, most people will agree that the British constructed attractive and made-to-last Jerusalem streets and boulevards. Although King George Street has changed tremendously since Israel gained independence, the stateliness of the road’s 1924 commemoration is visible in the dedication stone on the side of what is now a woman’s clothing store. The esthetically pleasing inscription is carved in the languages of the time: English, the official language of the British Crown has a central spot on the stone. It is flanked by slightly smaller Hebrew and Arabic translations.

They say a picture is worth a 1,000 words, so here goes: Across from the above inscription, where King George, Strauss and Jaffa Road intersect, look up to see what was for 10 years regarded as a “time-warp” fresco. In 2001, the French art group CitéCréation painted a long exterior building wall depicting the Jerusalem Light Rail system. Since the light rail only began running at the end of 2011, for years Jerusalemites considered this painting a bad joke. Like many other Jerusalem projects, this one finally came into being years after its original promised inauguration.

Despite a violent summer and fall, the Jerusalem Light Rail demonstrates that the city’s ethnic and religious groups can – and do, literally – come into close contact. Jerusalem’s train is an example, albeit a fragile coexistence.

photo - Gavriel Cohen’s 1976 mural on the Gerard Behar building
Gavriel Cohen’s 1976 mural on the Gerard Behar building. (photo by Orli Fields)

In sharp contrast to the slow development of the light rail, the wall project on the Gerard Behar Theatre (its address is 11 Bezalel St.) shows how quickly things can get done, if one really works at it. In 1976, Gavriel Cohen painted a huge building mural in just 92 days. Humorously, this 18-metre-wide painting is entitled “Around the World in 92 Days.” When you see the painting, you will understand its “play” on the title of Jules Verne’s famous adventure story.

Like Verne, Cohen was born in France. Moreover, the Jerusalem Foundation donor who underwrote the building’s renovation was himself a millionaire French Jew. He named the building after his son, Gerard Behar. Today, the wall has added significance, as many French Jews are making Israel their home. The Jewish Agency reported nearly 7,000 French Jews made aliya in 2014, doubling the number of the preceding year.

We now move back in time to the Hebrew year 5632 (1872). In the tiny Jerusalem neighborhood of the House of David – the fourth neighborhood built outside the walls of the Old City – there is another inscription above the doorway of what (with controversy between different religious blocs) has recently become a yeshiva. David Reiz, a Jew from Jonava, Poland (today the Republic of Lithuania) donated the money to build this area. The Hebrew stone dedication contains a description of the 1872 purchase of the lot and the subsequent building of the apartments and a study house (bet midrash). The home of Rav Kook (first chief Ashkenazi rabbi of Mandate Palestine) and the popular dairy restaurant Ticho House (currently undergoing repair) are a few steps away. The square courtyard in which the inscription is found still has the wells residents used for their household needs. Reportedly, today’s residents are a mix of doctors, artists and yeshiva students.

Even if they never took up residence in Israel, over the years people of different denominations have considered Jerusalem to be their centre of the world. Thus, in front of Jerusalem’s City Hall, there is a large reproduction of Heinrich Bünting’s 1581 map of the world. Bünting (1545-1606), a German Protestant pastor and theologian with a strong interest in cartography, created a map (included in his printed map book) featuring a three-leaf clover (which to this day is still part of his native Hanover’s coat of arms). Europe is the western leaf, Asia is the eastern leaf and Africa is the southern leaf. Jerusalem lies at the centre of the clover.

As Hebrew University’s Prof. Rehav Rubin (1987) wrote: “These maps do not teach us anything about the appearance of the city in ancient times, but from them we learn how Christian Europeans and the map-makers themselves saw sacred texts and the place of Jerusalem in the sacred texts.”

So much of Jerusalem’s history is laid out on its walls; come visit to discover it.

Deborah Rubin Fields is an Israel-based features writer. She is also the author of Take a Peek Inside: A Child’s Guide to Radiology Exams, published in English, Hebrew and Arabic.

Format ImagePosted on April 17, 2015April 16, 2015Author Deborah Rubin FieldsCategories IsraelTags Gavriel Cohen, graffiti, Jerusalem, Jonathan Price, Rehav Rubin, street art
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