{"id":794,"date":"2010-03-25T18:02:17","date_gmt":"2010-03-25T15:02:17","guid":{"rendered":"http:\/\/birkatchaverim.com\/wordpress\/?p=794"},"modified":"2018-04-16T13:21:13","modified_gmt":"2018-04-16T10:21:13","slug":"szyk-haggadah-an-interview-with-professor-shalom-sabar","status":"publish","type":"post","link":"https:\/\/birkatchaverim.com\/wordpress\/judaica\/szyk-haggadah-an-interview-with-professor-shalom-sabar\/","title":{"rendered":"Szyk Haggadah- an interview with Professor Shalom Sabar"},"content":{"rendered":"

\"New<\/a>
\nBackground on the Szyk Haggadah<\/h2>\n

The current holiday season has given me a great opportunity to talk about the new edition of The Szyk Haggadah. Arthur Szyk (1894-1951) originally published his haggadah, a richly illuminated edition in gouache and watercolor, in 1940. It was printed in an edition of 250 and signed by Arthur Szyk and the historian, Cecil Roth. Roth also provided an introduction and commentary. Subsequently the haggadah was reprinted in less expensive editions in Israel, and could be found in many Jewish homes throughout the world.<\/p>\n

\"p12<\/a>
\nNew Edition<\/h2>\n

Recently, Historicana, under the direction of Irvin Ungar, created a new edition of the haggadah with permission from the collector who owns the original Haggadah artwork and Arthur Szyk’s daughter, Alexandra Szyk Bracie. This version of the Haggadah uses current technology for extremely vivid illustration photos, and includes a new translation and commentary by Byron L. Sherwin, and a companion volume, Freedom Illuminated: Understanding The Szyk Haggadah<\/a>.<\/p>\n

I had the privilege of speaking with Professor Shalom Sabar<\/a>, from the Jewish Folklore and Art History faculties at Hebrew University,\u00a0Jerusalem, who is one of the contributors to the companion volume, and in interviewing him, by email.<\/p>\n

Professor Shalom Sabar<\/h2>\n

It is always a pleasure to learn from Professor Sabar and I am really pleased to be able to share his insights with you. Please note that Professor Sabar responded to my questions in Hebrew. I have translated his responses here loosely. Any defects in the translation are my fault. I am therefore, including his replies in Hebrew at the end for anyone who wishes to read them as I received them.<\/p>\n

For more information about the haggadah or Arthur Szyk’s work in general, please see the Arthur Szyk website<\/a>. I would like to thank Professor Shalom Sabar for agreeing to be interviewed and for his time as well as \u00a0Irvin Ungar and Allison Chang from Historicana for their assistance in the preparation of this post and for providing images to include in this post. Please note the copyright for all images:<\/p>\n

Original art: The Robbins Family Collection. Images courtesy Historicana,\u00a0www.szyk.com<\/a>.<\/p>\n

Interview:<\/strong><\/h2>\n

\"p02<\/a>1.Your companion piece is quite thorough on the history of Haggadah illumination and how Szyk uses and deviates from this tradition. Could you speak about this briefly?<\/em>
\nArthur Szyk was trained in the traditional sense of the word \u2013 that is, unlike other modern artists, he worked as an actual expert artist, in the manner in which medieval artists, who learned as apprentices for many years until they came to illustrate illuminated manuscripts by themselves. When they reached that stage, they were particular about each detail, and invested thought and slow technical work in each step of the progress. That is how Szyk worked– each of his pages were chocked full of details and ideas– thus, if you want to understand many elements in his pictures, also the description would become very detailed, and even like this I feel that I did not touch all the points that I wanted to relate to.<\/p>\n

Symbols<\/h3>\n

Szyk was a symbolist in the full sense of the word. He related quite seriously to symbols and their meaning and imparted to the traditional Jewish symbols and the new symbols a higher purpose in his work.
\nSymbolically he placed his Jewish past in Eastern Europe and therefore it includes depictions such as Torah arks crowned with a pair of lions (or just a pair of rampant lions facing each other) Torah crowns, Jews with a thick beard dressed as traditional chasidim, traditional seder plates, kiddush cup, seven branched candelabrum, candlesticks etc. –\"p24<\/a> the traditional Jewish symbols all designed according to visual tradition of Eastern European Jewry (there are no depictions of Sephardic or Mizrahi Jews!) Of the new symbols adopted Szyk mainly wanted to mention the images of Zionism or the New Jew that was widespread at the time – the pioneer, the Star of David with the word Zion, and so forth. Along with these \u2013 new symbols more unique to Szyk – “muscular Judaism” in relation to the past – Moses striking the Egyptian (Gentile) with great power, David decapitating Goliath, Samuel killing Agag and so on. Attached to all these ancient heroes he attached icons from the present – such as the shield or chariot of Jewish fighters embedded stars of David .<\/p>\n

3. What do you think are the main themes?<\/em>
\nThe redemption of the Jewish people in our generation, based on its rich tradition in the past and the strength to overcome [their] foes through military means.<\/p>\n

4. What is your favorite illustration or theme in the Haggadah? How would you say that Szyk’s contemporary reality influenced his illuminations?<\/em>
\nWhat is most interesting is how Szyk links the past and present in an original way and how events in his contemporary Jewish world are a direct continuation of the past. Personally I loved his idea that his ancestors in Egypt were artists – and he shows the Jewish slaves sculpting and drawing in the style of ancient Egyptian art (paintings of the pyramids, etc.). Completely fantastic (imaginary) but very original and shows the artist’s personal inclination.<\/p>\n

\"p14<\/a>5. You talk about how the original limited edition was signed by both Arthur Szyk and Cecil Roth, who wrote the introduction and commentary to the volume. How does it feel to be the “Cecil Roth” of the new edition?<\/em>
\nBezalel (Cecil) Roth was an interesting researcher making inquiries about who dominated many subjects. His writing is not complete, and there are holes, but an amazing amount of diversity. In many ways he fascinates me and I feel like I follow in his footsteps in terms of interest and topics: Italian Jewry, Jewish Art, Ketubbot [Jewish marriage contracts] (he wrote the introduction to Davidovitch’s book on Ketubbot), the Jews of Sfarad, Marranos in Portugal, the Spanish Diaspora, and so on. I never got to know him personally (he died when I was a young soldier) but I went to New York specifically to meet his wife, Irene Roth, who was already very old and blind, and I sat on his chair several times in the Italian synagogue in Jerusalem. In Toronto (Beth Tzedec), I cataloged the Ketubbot that he bought in Italy and elsewhere, and wrote about many other things which he dealt with (such as symbols of the Italian Jewish family). He is therefore a type of intellectual father and I followed after him quite a bit. The Szyk Haggadah is another example although different from the others since when I went to write about it I did not even know about the relationship of Roth to this Haggadah \u2026<\/p>\n


\n\u05e9\u05d0\u05dc\u05d4 1<\/strong> — <\/span><\/h2>\n

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\u05e9\u05d0\u05dc\u05d42<\/strong> — \"p16_Arthur_Szyk_The_Bread<\/a><\/h2>\n

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\u05de\u05d1\u05d9\u05df \u05d4\u05e1\u05de\u05dc\u05d9\u05dd \u05d4\u05d7\u05d3\u05e9\u05d9\u05dd \u05e9\u05d0\u05d9\u05de\u05e5 \u05e9\u05d9\u05e7 \u05e0\u05d9\u05ea\u05df \u05dc\u05d4\u05d6\u05db\u05d9\u05e8 \u05d1\u05e2\u05d9\u05e7\u05e8 \u05d0\u05ea \u05d4\u05d3\u05d9\u05de\u05d5\u05d9\u05d9\u05dd \u05e9\u05dc \u05d4\u05e6\u05d9\u05d5\u05e0\u05d5\u05ea \u05d0\u05d5 \u05d4\u05d9\u05d4\u05d5\u05d3\u05d9 \u05d4\u05d7\u05d3\u05e9 \u05e9\u05e8\u05d5\u05d5\u05d7\u05d5 \u05d1\u05d6\u05de\u05e0\u05d5– \u05d4\u05d7\u05dc\u05d5\u05e5, \u05de\u05d2\u05df \u05d3\u05d5\u05d3 \u05e2\u05dd \u05d4\u05de\u05d9\u05dc\u05d4 \u05e6\u05d9\u05d5\u05df \u05d5\u05db\u05df \u05d4\u05dc\u05d0\u05d4. \u05dc\u05e6\u05d3 \u05d0\u05dc\u05d4– \u05e1\u05de\u05dc\u05d9\u05dd \u05d7\u05d3\u05e9\u05d9\u05dd \u05d9\u05d7\u05d5\u05d3\u05d9\u05d9\u05dd \u05d9\u05d5\u05ea\u05e8 \u05dc\u05e9\u05d9\u05e7– “\u05d9\u05d4\u05d3\u05d5\u05ea \u05d4\u05e9\u05e8\u05d9\u05e8\u05d9\u05dd” \u05d1\u05d9\u05d7\u05e1 \u05dc\u05e2\u05d1\u05e8– \u05de\u05e9\u05d4 \u05de\u05db\u05d4 \u05d0\u05ea \u05d4\u05de\u05e6\u05e8\u05d9(\u05d4\u05d2\u05d5\u05d9) \u05d1\u05db\u05d7 \u05e8\u05d1, \u05d3\u05d5\u05d3 \u05d4\u05e2\u05d5\u05e8\u05e3 \u05d0\u05ea \u05e8\u05d0\u05e9 \u05d2\u05dc\u05d9\u05ea, \u05e9\u05de\u05d5\u05d0\u05dc \u05d4\u05d4\u05d5\u05e8\u05d2 \u05d0\u05ea \u05d0\u05d2\u05d2, \u05d5\u05db\u05df \u05d4\u05dc\u05d0\u05d4. \u05dc\u05db\u05dc \u05d4\u05d2\u05d9\u05d1\u05d5\u05e8\u05d9\u05dd \u05d4\u05e2\u05ea\u05d9\u05e7\u05d9\u05dd \u05de\u05d5\u05e6\u05de\u05d3\u05d9\u05dd \u05e1\u05de\u05dc\u05d9\u05dd \u05de\u05d4\u05d4\u05d5\u05d5\u05d4– \u05db\u05d2\u05d5\u05df \u05d4\u05de\u05d2\u05df \u05d0\u05d5 \u05d4\u05de\u05e8\u05db\u05d1\u05d4 \u05e9\u05dc \u05dc\u05d5\u05d7\u05de\u05d9 \u05d9\u05e9\u05e8\u05d0\u05dc \u05d5\u05d1\u05d4\u05dd \u05de\u05e9\u05d5\u05d1\u05e6\u05d9\u05dd \u05de\u05d2\u05d9\u05e0\u05d9 \u05d3\u05d5\u05d3..<\/p>\n

\u05e9\u05d0\u05dc\u05d4 3<\/strong>—<\/h2>\n

\u05d2\u05d0\u05d5\u05dc\u05ea \u05d4\u05e2\u05dd \u05d4\u05d9\u05d4\u05d5\u05d3\u05d9 \u05d1\u05d3\u05d5\u05e8\u05e0\u05d5 \u05e2\u05dc \u05e1\u05de\u05da \u05d4\u05de\u05e1\u05d5\u05e8\u05ea \u05d4\u05e2\u05e9\u05d9\u05e8\u05d4 \u05e9\u05dc\u05d5 \u05d1\u05e2\u05d1\u05e8 \u05d5\u05db\u05d5\u05d7\u05d5 \u05dc\u05d4\u05ea\u05d2\u05d1\u05e8 \u05e2\u05dc \u05d0\u05d5\u05d9\u05d1\u05d9\u05d5 \u05d1\u05d0\u05de\u05e6\u05e2\u05d9\u05dd \u05e6\u05d1\u05d0\u05d9\u05d9\u05dd<\/p>\n

 <\/p>\n

\u05e9\u05d0\u05dc\u05d4 4<\/strong> —<\/h2>\n

\u05d4\u05de\u05e2\u05e0\u05d9\u05d9\u05df \u05d1\u05d9\u05d5\u05ea\u05e8 \u05d6\u05d4 \u05db\u05d9\u05e6\u05d3 \u05e9\u05d9\u05e7 \u05de\u05e7\u05e9\u05e8 \u05d1\u05d9\u05df \u05e2\u05d1\u05e8 \u05d5\u05d4\u05d5\u05d5\u05d4 \u05d1\u05d3\u05e8\u05da \u05de\u05e7\u05d5\u05e8\u05d9\u05ea \u05d5\u05db\u05d9\u05e6\u05d3 \u05d1\u05e9\u05d1\u05d9\u05dc\u05d5 \u05d4\u05d0\u05d9\u05e8\u05d5\u05e2\u05d9\u05dd \u05d1\u05d9\u05d4\u05d3\u05d5\u05ea \u05d4\u05e2\u05d5\u05dc\u05dd \u05e9\u05dc \u05d6\u05de\u05e0\u05d5 \u05d4\u05dd \u05d4\u05de\u05e9\u05da \u05d9\u05e9\u05d9\u05e8 \u05dc\u05e2\u05d1\u05e8. \u05d1\u05d0\u05d5\u05e4\u05df \u05d0\u05d9\u05e9\u05d9 \u05d0\u05d4\u05d1\u05ea\u05d9 \u05de\u05d0\u05d3 \u05d0\u05ea \u05d4\u05e8\u05e2\u05d9\u05d5\u05df \u05e9\u05dc\u05d5 \u05e9\u05d0\u05d1\u05d5\u05ea \u05d0\u05d1\u05d5\u05ea\u05d9\u05d5 \u05d1\u05de\u05e6\u05e8\u05d9\u05dd \u05d4\u05d9\u05d5 \u05d0\u05de\u05e0\u05d9\u05dd — \u05d5\u05d4\u05d5\u05d0 \u05de\u05e8\u05d0\u05d4 \u05d0\u05ea \u05d4\u05e2\u05d1\u05d3\u05d9\u05dd \u05d4\u05e2\u05d1\u05e8\u05d9\u05d9\u05dd \u05de\u05e4\u05e1\u05dc\u05d9\u05dd \u05d5\u05de\u05e6\u05d9\u05d9\u05e8\u05d9\u05dd \u05d1\u05e1\u05d2\u05e0\u05d5\u05df \u05d4\u05d0\u05de\u05e0\u05d5\u05ea \u05d4\u05de\u05e6\u05e8\u05d9\u05ea \u05d4\u05e2\u05ea\u05d9\u05e7\u05d4 (\u05e6\u05d9\u05d5\u05e8\u05d9 \u05d4\u05e4\u05d9\u05e8\u05de\u05d9\u05d3\u05d5\u05ea, \u05d5\u05db\u05d5’). \u05e4\u05e0\u05d8\u05e1\u05d8\u05d9 (\u05d3\u05de\u05d9\u05d5\u05e0\u05d9) \u05dc\u05d7\u05dc\u05d5\u05d8\u05d9\u05df .\u05d0\u05da \u05de\u05d0\u05d3 \u05de\u05e7\u05d5\u05e8\u05d9 \u05d5\u05de\u05e8\u05d0\u05d4 \u05e2\u05dc \u05e0\u05d8\u05d9\u05d9\u05ea\u05d5 \u05d4\u05d0\u05d9\u05e9\u05d9\u05ea \u05e9\u05dc \u05d4\u05d0\u05de\u05df<\/p>\n

\u05e9\u05d0\u05dc\u05d4 <\/strong>5– \"p88<\/a><\/h2>\n

\u05d1\u05e6\u05dc\u05d0\u05dc (\u05e1\u05e1\u05d9\u05dc) \u05e8\u05d5\u05ea \u05d4\u05d9\u05d4 \u05d7\u05d5\u05e7\u05e8 \u05de\u05e2\u05e0\u05d9\u05d9\u05df \u05d0\u05e9\u05e8 \u05e9\u05dc\u05d8 \u05d1\u05e0\u05d5\u05e9\u05d0\u05d9\u05dd \u05e8\u05d1\u05d9\u05dd .\u05d4\u05db\u05ea\u05d9\u05d1\u05d4 \u05e9\u05dc\u05d5 \u05dc\u05d0 \u05de\u05d5\u05e9\u05dc\u05de\u05ea \u05d5\u05d9\u05e9 \u05d1\u05d4 \u05d7\u05d5\u05e8\u05d9\u05dd \u05d0\u05da \u05de\u05d3\u05d4\u05d9\u05de\u05d4 \u05d1\u05db\u05de\u05d5\u05ea\u05d4 \u05d5\u05d1\u05e8\u05d1\u05d2\u05d5\u05e0\u05d9\u05d5\u05ea\u05d4 .\u05de\u05d1\u05d7\u05d9\u05e0\u05d4 \u05e8\u05d1\u05d5\u05ea \u05d4\u05d5\u05d0 \u05de\u05e8\u05ea\u05e7 \u05d0\u05d5\u05ea\u05d9 \u05d5\u05d0\u05e0\u05d9 \u05de\u05e8\u05d2\u05d9\u05e9 \u05e9\u05d0\u05e0\u05d9 \u05d4\u05d5\u05dc\u05da \u05d1\u05e2\u05e7\u05d1\u05d5\u05ea\u05d9\u05d5 \u05de\u05d1\u05d7\u05d9\u05e0\u05ea \u05d4\u05e2\u05e0\u05d9\u05d9\u05df \u05d5\u05d4\u05e0\u05d5\u05e9\u05d0\u05d9\u05dd:\u05d9\u05d4\u05d3\u05d5\u05ea \u05d0\u05d9\u05d8\u05dc\u05d9\u05d4, \u05d0\u05de\u05e0\u05d5\u05ea \u05d9\u05d4\u05d5\u05d3\u05d9\u05ea, \u05db\u05ea\u05d5\u05d1\u05d5\u05ea (\u05d4\u05d5\u05d0 \u05db\u05ea\u05d1 \u05d0\u05ea \u05d4\u05de\u05d1\u05d5\u05d0 \u05dc\u05e1\u05e4\u05e8 \u05d4\u05db\u05ea\u05d5\u05d1\u05d4 \u05e9\u05dc \u05d3\u05d1\u05d9\u05d3\u05d5\u05d1\u05d9\u05e5), \u05d9\u05d4\u05d3\u05d5\u05ea \u05e1\u05e4\u05e8\u05d3, \u05d4\u05d0\u05e0\u05d5\u05e1\u05d9\u05dd \u05d1\u05e4\u05d5\u05e8\u05d8\u05d5\u05d2\u05dc \u05d5\u05d1\u05ea\u05e4\u05d5\u05e6\u05d4 \u05d4\u05e1\u05e4\u05e8\u05d3\u05d9\u05ea, \u05d5\u05db\u05df \u05d4\u05dc\u05d0\u05d4. \u05dc\u05d0 \u05d6\u05db\u05d9\u05ea\u05d9 \u05dc\u05d4\u05db\u05d9\u05e8\u05d5 \u05d0\u05d9\u05e9\u05d9\u05ea (\u05e0\u05e4\u05d8\u05e8 \u05e2\u05d5\u05d3 \u05db\u05e9\u05d4\u05d9\u05d9\u05ea\u05d9 \u05d7\u05d9\u05d9\u05dc \u05e6\u05e2\u05d9\u05e8) \u05d0\u05da \u05e0\u05e1\u05e2\u05ea\u05d9 \u05d1\u05de\u05d9\u05d5\u05d7\u05d3 \u05dc\u05e0\u05d9\u05d5 \u05d9\u05d5\u05e8\u05e7 \u05dc\u05e4\u05d2\u05d5\u05e9 \u05d0\u05ea \u05e8\u05e2\u05d9\u05d9\u05ea\u05d5, \u05d0\u05d9\u05d9\u05e8\u05d9\u05df \u05e8\u05d5\u05ea, \u05e9\u05d4\u05d9\u05d9\u05ea\u05d4 \u05db\u05d1\u05e8 \u05de\u05d0\u05d3 \u05d6\u05e7\u05e0\u05d4 \u05d5\u05e2\u05d9\u05d5\u05d5\u05e8\u05ea, \u05d5\u05db\u05df \u05d9\u05e9\u05d1\u05ea\u05d9 \u05e4\u05e2\u05de\u05d9\u05dd \u05d0\u05d7\u05d3\u05d5\u05ea \u05e2\u05dc \u05db\u05e1\u05d0\u05d5 \u05d1\u05d1\u05d9\u05ea \u05d4\u05db\u05e0\u05e1\u05ea \u05d4\u05d0\u05d9\u05d8\u05dc\u05e7\u05d9 \u05d1\u05d9\u05e8\u05d5\u05e9\u05dc\u05d9\u05dd. \u05d1\u05d8\u05d5\u05e8\u05d5\u05e0\u05d8\u05d5 (\u05d1\u05d9\u05ea \u05e6\u05d3\u05e7) \u05e7\u05d8\u05dc\u05d2\u05ea\u05d9 \u05d0\u05ea \u05d4\u05db\u05ea\u05d5\u05d1\u05d5\u05ea \u05e9\u05e8\u05db\u05e9 \u05d1\u05d0\u05d9\u05d8\u05dc\u05d9\u05d4 \u05d5\u05d1\u05de\u05e7\u05d5\u05de\u05d5\u05ea \u05d0\u05d7\u05e8\u05d9\u05dd, \u05d5\u05db\u05ea\u05d1\u05ea\u05d9 \u05e2\u05dc \u05d4\u05e8\u05d1\u05d4 \u05e4\u05e8\u05d9\u05d8\u05d9\u05dd \u05d0\u05d7\u05e8\u05d9\u05dd \u05d1\u05d4\u05dd \u05e2\u05e1\u05e7 (\u05dc\u05de\u05e9\u05dc \u05e1\u05de\u05dc\u05d9 \u05de\u05e9\u05e4\u05d7\u05d4 \u05e9\u05dc \u05d9\u05d4\u05d5\u05d3\u05d9 \u05d0\u05d9\u05d8\u05dc\u05d9\u05d4).\u05dc\u05e4\u05d9\u05db\u05da \u05d4\u05d5\u05d0 \u05de\u05e2\u05d9\u05df \u05d0\u05d1 \u05e8\u05d5\u05d7\u05e0\u05d9 \u05d5\u05d4\u05dc\u05db\u05ea\u05d9 \u05d4\u05e8\u05d1\u05d4 \u05d1\u05e2\u05e7\u05d1\u05d5\u05ea\u05d9\u05d5. \u05d4\u05d4\u05d2\u05d3\u05d4 \u05e9\u05dc \u05e9\u05d9\u05e7 \u05d4\u05d9\u05d0 \u05e2\u05d5\u05d3 \u05d3\u05d5\u05d2\u05de\u05d0 \u05d0\u05dd \u05db\u05d9 \u05e9\u05d5\u05e0\u05d4 \u05de\u05d4\u05e4\u05e8\u05d9\u05d8\u05d9\u05dd \u05d4\u05d0\u05d7\u05e8\u05d9\u05dd \u05d5\u05db\u05d0\u05e9\u05e8 \u05e0\u05d2\u05e9\u05ea\u05d9 \u05dc\u05db\u05ea\u05d5\u05d1 \u05e2\u05dc\u05d9\u05d4 \u05dc\u05d0 \u05d9\u05d3\u05e2\u05ea\u05d9 \u05d0\u05e4\u05d9\u05dc\u05d5 \u05e2\u05dc \u05d4\u05e7\u05e9\u05e8 \u05e9\u05dc \u05e8\u05d5\u05ea’ \u05dc\u05d4\u05d2\u05d3\u05d4 \u05d6\u05d5…<\/p>\n

 <\/p>\n

<\/h2>\n

Page captions for the Szyk Haggadah based on the order in which they appear:<\/span><\/h2>\n
1.Arthur Szyk. Kiddush-Sanctification, The Szyk Haggadah. Lodz, 1935. p12 .<\/div>\n
2.Arthur Szyk. The Family at the Seder, The Szyk Haggadah. Lodz, 1936. p02.<\/div>\n
3. Arthur Szyk. We Were Slaves to Pharaoh, The Szyk Haggadah. Lodz, 1935.\u00a0p24.<\/div>\n
4. Arthur Szyk. She-hehiyanu, The Szyk Haggadah. Lodz, 1935.\u00a0p14.<\/div>\n
5. Arthur Szyk. The Bread of Affliction, The Szyk Haggadah. Lodz, 1935.\u00a0p16.<\/div>\n
6. Arthur Szyk. Had Gadya, The Szyk Haggadah. Lodz, 1934.\u00a0p88.<\/div>\n

 <\/p>\n","protected":false},"excerpt":{"rendered":"

Background on the Szyk Haggadah The current holiday season has given me a great opportunity to talk about the new edition of The Szyk Haggadah. Arthur Szyk (1894-1951) originally published his haggadah, a richly illuminated edition in gouache and watercolor, in 1940. It was printed in an edition of 250 and signed by Arthur Szyk […]<\/p>\n","protected":false},"author":4,"featured_media":2162,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"footnotes":""},"categories":[100,103,4,286],"tags":[31,273,162],"class_list":["post-794","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-education","category-holidays","category-judaica","category-passover","tag-haggadah","tag-judaica","tag-passover"],"yoast_head":"\nSzyk Haggadah Interview with Professor Shalom Sabar<\/title>\n<meta name=\"description\" content=\"Interview with Professor Shalom Sabar about the new edition of the Arthur Szyk Haggadah published by Irvin Unger of Historiana. 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