How much is that tchotchke in the window?

By Arlene Stolnitz

I must admit that I am a great fan of the “Antique Road Show.” I am always interested in anything that has relevance to Judaism. Writing this column on sacred Judaic objects has given me new insight into the experience of our ancestors in their journey to the “New World.” I especially think of my own grandparents who came from Russia and Poland at the turn of the 19th century. Perhaps that is why I am a great fan of the “Antique Road Show.”

My story is no different than many Jews living during our time. We all have relatives who had similar experiences emigrating from “The Old Country.” But I have often thought of a question for which I have no answer. How were our ancestors able to bring these objects with them under such difficult circumstances?

On her journey, my Russian grandmother “shlepped” several of these “tchotchkes” with her, which included two fragile porcelain bowls as well as a silver samovar!

Other items immigrants brought took up no room at all. These are the things we see and hear of most often. They brought what was considered “precious” in their eyes — candlesticks, Kiddish cups, tallit bags, spice boxes, challah covers, photographs — but I had never heard of a micrographic portrait, a copy of an image composed of microscopic letters!

We don’t hear much about micrography these days, but as an art form micrography was esteemed by other ancient cultures including Chinese, Japanese, as well as Egyptian. It also spread to other Middle Eastern countries as its popularity grew. By the mid-15th century however, with the invention of the printing press, its popularity diminished — even though scribes still continued their unique craft of writing the Torah.

By definition, micrography is the formation of pictures or objects with words, written in minute letters. The Chinese used their language; the Jews used Hebrew. It is thought that as early as the late ninth century, Jewish scribes may have written Hebrew micrographic texts in Palestine and Egypt.

The art of beautiful penmanship, microcalligraphy, as it is also called, raises many questions regarding the kinds of tools scribes/calligraphers used in their process. What kinds of pens did they use? Did they use magnifying lenses? Was their eyesight affected?

In micrography, it was possible to draw a picture of an event without creating a “graven image.” Retaining sacredness has always been an important precept in Judaism. This art form allowed “pictures” to illustrate biblical stories. Scribes were already using microscopic letters for mezuzot and tefillin. They were adept at embellishing the margins of the Torah in tiny letters often using abstract geometric designs representing flowers, animals and even human figures.

Worthy of mention is a micrography of “The Book of Jonah,” depicting a scene from the biblical story of Jonah. Expert in the field is Leila Avrin of Hebrew University in Jerusalem. Her book, “Micrography as Art,” is a wonderful resource for anyone wanting to learn more about the subject.

In Europe and then in America, micrography was used in copying daguerreotypes and photographic images using microscopic letters. Micrography became a popular art form in this country, as immigrants became settled in their new country.

The accompanying image shows a likeness of “Mrs. S. Brody,” by David Davidson, Artist in Penmanship, New York City, May 5618 (1858). Ink on embossed paper, the micrographic portrait is in the Jewish Museum in New York.

These handprinted works of art are truly inspiring. They force us to think of what can be created simply using pen and ink and make us realize how handwriting can be used in a different way.

Meanwhile, I am still hoping that one day I will see an example of micrography on the “Antique Road Show.” It will make my day!

Arlene Stolnitz, the “Jewish Music” contributor to Federation papers for the past eight years, has started a new series focusing on Judaic Folk Art. It will appear in Federation newspapers on an irregular basis. Stolnitz, a native of Rochester, New York, is a retired educator and lives in Venice, Florida.