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Reprinted with permission from Traditional Jewish Papercuts: An Inner World of Art and Symbol (University Press of New England).
There is no better example of a popular art form that took its inspiration from these hallowed sources [the Torah and Talmud] than Jewish papercuts, all of them serving some religious, ritual or mystic purpose. Many of the objects that we revere and treasure today as traditional Jewish folk art were made of expensive materials according to accepted patterns and styles of the day and region by skilled by craftsmen — often non-Jews commissioned by private individuals or congregations.
But even the poorest Jew had access to the humble materials and tools — paper, pencil, penknife, watercolors and colored crayons — with which he could express his own form of hiddur mitzvah [beautification of the commandments and rituals] by making a papercut. Of all Jewish ritual and folk art, papercuts (and also some calligraphic sheets) lent themselves to the freest expression of religious spirit. Unlike metal, wood, or textiles, paper was so cheap and so easily replaceable that the artist-craftsman was never afraid of spoiling it. He could be bold and inventive within the simplest of technical means. And indeed, he took full advantage of the medium and let his imagination run to fanciful extremes.
History of Jewish Papercuts
The earliest known reference to a Jew who created cut paper work dates to 1345, when Rabbi Shem-Tov ben Yitzhak ben Ardutiel composed a witty treatise in Hebrew entitled The War of the Pen Against the Scissors. He relates that when the ink in his inkwell froze on a cold winter’s evening, he resorted to cutting the letters out of the paper–apparently in keeping with a conceit fashionable at the time (and later) in Spain. To students of Christian Spanish literary history, Rabbi Shem-Tov is better known as Santob de Carrion de los Condes (1290-1369), the courtly Castilian troubadour who composed the Proverbios morales for Pedro the Cruel.
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