Portraits of great rabbis are very important in Judaism. The Midrash relates that Yosef HaTzaddik was saved from sin by seeing an image of his father, and the Talmud quotes Rebbe as saying that he was sharper in learning than his peers because he merited to see Rabbi Meir (Eruvin 13). Thus, it is not surprising that nearly every Jewish home today is adorned with portraits of great rabbis.
However, portraits (and later photographs) have not always been popular in some Jewish circles. In the early days of the chassidic movement, as well as in Kabbalistic circles, sitting for a portrait was often frowned upon and sometimes even forbidden. Additionally, Jews in Arab lands seldom had portraits since Muslim culture prohibits them.
In light of these facts, it is fascinating to explore the origins of the portraits that have made it down to us. Below is a look at some of the more familiar ones.
R. Yitzchak Alfasi, the Rif (1013-1103)
This illustration of the Rif is an artist’s rendition which first appeared in an early 19th century edition of the Rif published in Vienna. The illustration quickly caught on and, by the 1850s, it appeared on sukkah decorations and later on postcards published by Meir Kunstadt.
By the 1920s, the portrait appeared in numerous editions of the Haggadah accompanying the passage of “Ma’aseh BeRabbi Eliezer.”
R. Shmuel Eidels, the Maharsha (1555-1631)
The Maharsha’s portrait that we are familiar with today shows him in his study, with long hair, leaning over books. The illustration incorporates the legend that the Maharsha had long hair that he would tie to a nail in the ceiling while studying to prevent him from falling asleep. This portrait first appeared in the 1814 edition of the Maharsha on the Talmud, printed in Vienna by George Holzinger.
R. Yehudah Aryeh of Modena (1571-1648)
The portrait of R. Leon Modena, or Yehudah Aryeh MiModena, appeared on the title page of his book, Historia De Gli Riti Hebraici – the first sefer in modern history that attempts to explain Jewish practices to a gentile readership. Published at the request of Sir Henry Wotton, English ambassador to Venice, for presentation to King James I, it was translated into many languages.
The portrait of Modena on the title page is one of the earliest portraits of a Jew. Surprisingly, it shows him without a head covering. R. Modena justified being bare-headed, stating that the majority of Jews in Italy did not wear a head covering.
Rabbi Zvi Ashkenazi, the Chacham Zvi (1658-1713)
R. Zvi Ashkenazi – the Chacham Zvi – was offered the rabbinate in London by the Sephardic community, and it was during this period that his portrait was made.
His son, R. Yaakov Emden, writes of the portrait in his responsa: “He was greatly adored by the community, and they wanted to commission a portrait of him, offering all the love and honor in the world to him if he would permit it. He did not heed their words and refused to allow it, despite it being permitted under Jewish law.”
In their enthusiasm, the community went ahead anyways and had a master artist create a painting that was a perfect resemblance of the Chacham Tzvi. “All that is missing is the breath of life,” R. Yaakov Emden wrote. R. Emden records that copies of the portrait commanded a high premium from his friends and acquaintances.
Rabbi Elazar Rokeach (c. 1665-1742)
Rabbi Elazar Rokeach was born in Cracow and, after serving as rabbi in Rakow and Brody, was offered the position of rabbi in Amsterdam in 1735. Upon his arrival, a medal was designed in his honor, one side of which exhibited his head in relief, surrounded by the words “Eleazar ben Samuel, rabbi of Brody” (in Hebrew); the other side containing chosen verses from Tehillim.
The appearance of this medal prompted a lengthy halachic discussion in rabbinic responsa, with R. Yaakov Emden arguing that making this medal was forbidden and suggests it was made without the knowledge of R. Elazar Rokeach.
R. Yaakov Emden, the Ya’avetz (1697-1776)
The portrait of R. Yaakov Emden that we have today first appeared as a print in the late 19th century, long after the Ya’avetz’s passing. Scholars believe the portrait is not authentic since 1) R. Yaakov Emden notes that his father disapproved of portraits and 2) R. Yaakov Emden never talks about a portrait being made of himself in any of his writings, including his autobiography.
Rabbi Yaakov Abuhatzeira (1806-1880)
Rabbi Yaakov Abuhatzeira is known to have avoided being photographed, and before making his trip towards the Holy Land at the end of his life, he went to great lengths to obtain a passport without having to supply a photograph.
The portrait we have today is said to have been made by an artist who studied his features at length and then proceeded to make the drawing in another location without the rabbi’s knowledge. Shortly after his passing, the portrait was disseminated by his followers and printed alongside his published works.
Rabbi Yosef Hayyim, the Ben Ish Hai (1835-1909)
The Ben Ish Hai was photographed in approximately 1877 when he was 42 years old. The original photograph, which numerous artists’ renditions are based on, was sent by the Ben Ish Hai personally to the Iraqi Jewish philanthropist Saliman David Sassoon as a memento.
In Rav Berachot, the Ben Ish Hai writes that it is permitted to take photographs, but women are recommended to prevent their photographs from being taken for reasons of modesty.
Rabbi Sholom Mordechai Schwadron, the Maharsham (1835-1911)
Only one photograph of the Maharsham exists, showing him with a siddur in hand in the later years of his life. According to his family, the Maharsham was against his photograph being taken, and this one was taken against his wishes. On one Motzei Shabbat, while reciting Kiddush Levanah, one of his grandchildren took a picture of him as he was reciting the tefillah from a siddur.
R. Israel Meir Kagan, the Chofetz Chaim (1839-1933)
In 1925, the Chofetz Chaim announced that he would make aliyah and settle in Petach Tikvah, where his daughter and son-in-law, R. Aharon Hakohen, resided. To obtain a passport, his photograph was taken; it is this photograph that is the source of the familiar portrait we know today.
It is said that the Chofetz Chaim asked the photographer to destroy the plate after producing the picture in order to prevent copies from being made. A bachur from Radin, however, convinced the photographer otherwise, and his portrait was quickly disseminated.
