Jurors of the Jesselson Award on Ya'akov Boussidan
"Ya'akov Boussidan has been engaged in the artistic design of Hebrew books for many years.
His personal interpretations, which go beyond illustration, are based on profound research into the Jewish content of the book itself.
This special approach is expressed in his two versions of the Song of Songs (Shir Ha'Shirim) and in the Haggadah that he calligraphed and illustrated.
Boussidan devotes special attention to the Hebrew letter, which forms an organic part of his work. His original work is always executed with perfection; careful attention is given to every element including the quality of paper and printing."

Yigal Zalmona, Chief Curator-at-Large of the Israel Museum at the launch of "Jerusalem-Names in Praise"
On behalf of the Israel Museum, I would like to take the opportunity to congratulate Ya'akov Boussidan, the participants and the guests who have gathered here this evening. The launching of Jerusalem--Names in Praise could not take place elsewhere. Since the subject of this evening is Jerusalem, and Jerusalem is central to the essence and ideology of this museum, this is the natural location to host such an event. The museum is an equally appropriate base for Boussidan. His art is represented in the museum's permanent collection, and he is also the winner of the prestigious Israel Museum's Jesselson Prize for Contemporary Judaica Design for his major achievements in the art of the book, which includes typography and the design of Hebrew calligraphy.

The museum's treasures represent a long standing tradition of the value of the written word, Throughout the museum's collections are countless pieces that deal with script, such as the letters of Lachisch, the Dead Sea Scrolls, the Blessings of the Cohenite (Priests), the early bibles, as well as magnificent Jewish manuscripts, and the art of calligraphy from the Far and Middle East. Script is also represented in modern art, and especially in Israeli art based on the Jewish Scriptorium, which was frequently mentioned in the commentary. Just as Scriptorium and visual art come together as the heartbeat of the Israel Museum, so too do these vehicles exemplify the principle of the energy behind the livre d'artiste that we honour this evening,

Boussidan's livre d'artiste combines research, wisdom and beauty. Dan Almagor wrote a song entitled "Many names to Jerusalem", in which it says that if we come to count the names of Jerusalem on Paper, the paper will be short of supply, the ink will dry out, and the hand will be exhausted writing it.

I am happy that Boussidan's ink has not run dry, and that his hand continues to be strong, so that we may recognize his book that pays homage to the 391 names given to Jerusalem, much more that the 70 names counted in the Midrash. Boussidan gift is that he gives every name the special artistic attention it deserves, masterfully executed with professionalism and as an expression of love to the city. This extraordinary work is Boussidan's love letter to Jerusalem, as well as an expression of his love for the written word, for painting, and for his love of painting the city.

The power of the quill pen as a vital tool in calligraphy was not compromised by the invention of the press. The ability to wield a quill pen with special sensitivity and attention to the appropriate use of pressure is reflected in Boussidan's work. With the survival of ancient manuscripts and their development in the Far East, aesthetics flourished, bringing a new sense of the mystical to the art world. Boussidan is clearly connected to this world.

We thank Ya'akov Boussidan for the scope of his vision and his ability to transcend time and share that vision with us. I would like to thank the organizers of this evening, the lecturers who will give us much to reflect on: Prof. Rabbi Sperber, Architect Mr. David Kroyanker. Mrs. Chava Pinchas-Hacohen, Prof. Reuven Feuerstein and Prof. Benjamin Ish Shalom, and once again, Ya'akov.

Prof. Daniel Sperber at the Israel Museum launch evening
There is a standard format to the wording of approbations in religious literature. They usually begin with the Aramaic expression "Kvar Itmachei Gavra", meaning that the author has already acquired fame; we know him from his previous writings; the great sages have already given him approval, and there are therefore no words to add since all has been said before.

I take the liberty to say "Kvar Itmachei Gavra", as Ya'akov Bousidan has already created a precious and remarkable series of Livres d'artiste, to mention only the Hagaddah and various versions of the Song of Songs amongst others. His art has been exhibited in several museums, and in truth, most things have already been said.

One notes that Ya'akov Bousidan's "Jerusalem - Names in Praise" assembles three disciplines of art: the pictures, the calligraphy, and the design layout. The design combines both the letter and the image. In medieval times, the calligrapher and the illustrator were two separate artists. It is rare to find artists who master these three different aspects of visual art.

There are more than 390 names of Jerusalem in the artist's book. Each name depicts someone's personal view of the city and expresses their feeling towards it. At first glance, it may seem that the different names have nothing in common other than that they relate to the same idea, beyond the physical city. As my dear friend Prof. Ish Shalom noted, while looking at the individual names of Jerusalem in this form of art and studying the different values they express, one should also look at the names as a whole, in the same way that one looks at a pointillist painting consisting of many tiny dots. When one takes a step back – we can see the whole picture. The hundreds of names, executed in calligraphy of different designs, the various marvelous drawings, and the use of colour all brought together in a wonderful book layout comprise a whole that has a unique perfection to it. Jerusalem, the city called "Shalem" – whole and perfect, and "Shalom" - City of Peace.

One specific design in the book is the circle. On the surface, this seems to be merely an artistic motif, but the circle in many cultures represents an infinite wholeness and perfection, and this has been done deliberately. When we mention Jerusalem we mention it as a metaphysical idea that has roots in the past and envisions the future - a place of longing and hope. "Jerusalem - names in Praise" is about optimism.

I feel that mankind could be nourished with this much needed optimism, and may this book lead us to the path of seeing Jerusalem in its perfection, as the city of Shalem and Shalom – wholeness and peace.

Read Essay by Teresa Sidey

There is a certain glory of expression which gives to the page - with its colours, forms and ethical significance - a true reflection of life. It is an art which portrays thought and action in one movement, as if the thought had already come and gone invisible within it: the double measure from which one learns but also enjoys. There is no art in anything which does not simultaneously produce these to reactions in the viewer. To learn alone is arid. To enjoy alone is ethically impure.

Thus Ya'akov Boussidan's work has those qualities which enable on both to learn and enjoy, and in the modern world this is a rare distinction.

It is a combination which comes from a long tradition, but it is all the more forceful in Boussidan's work because by so solidly maintaining that tradition it is pointing a way to the future. It gives it a solid permanence which makes it more modern than the productions of many artists who work as if tradition never existed.

In this respect Boussidan's work exalts. It has within it all the qualities of the treasure house of the artist's soul

Dear Ya’akov,

When we come to bestow a crown upon Jerusalem, we are following in the footsteps of numerous poets and painters, who discovered this city, that lives beyond time; a city of poetic quality that has nourished artists and offered inspiration to many generations.

The year 1995/96 has been designated as the year in which to celebrate the 3000 Year anniversary of Jerusalem, since its foundation by King David as the capital city of Israel. The entire House of Israel and all the nations of the world have been invited to join in the celebration of this anniversary with Jerusalem.
Through your love and devotion to Jerusalem, I have found your dedication to the original concept of the book “Jerusalem – Names in Praise” a unique expression, which links you with the chain of artists, who have manifested their admiration, yearning and hope for this eternal city, Jerusalem.

There exist but few cities in the whole world, which awaken within artists such intimate names of affection and promote their creativity in a way that Jerusalem has been honoured to do, from the beginnings of its history.

Please accept my congratulations on the conception and creation of this work, which is revealed in your book, adorned by your calligraphy and the pioneering research in presenting over 250 names dedicated to Jerusalem.

I see a great significance in the timing of the publication of “Jerusalem – Names in Praise” to coincide with the anniversary of Jerusalem 3000.
Greetings,

Ehud Olmert
(Translation from the Hebrew)

... In many other engravings Boussidan has explored the limits of his art . Faithful to his Jewish beliefs he has invented new symbols to express them... Not since Rouault has there been a religious artist with so much power and authority.

In the idiom of his designs, Boussidan shows a complete disregard for the chronology of art history. It is apparent in every picture that it is a product of the latter part of the twentieth century, but no picture owes allegiance to any traditional artistic perception, defined in the complicated vocabulary of our times. Boussidan interprets freedom, which is the very essence of the Haggadah, as an inclusive freedom. It includes the freedom not to feel oneself bound to any viewpoints where others may have set limits. The evident homogeneity of these pages absorbs the force of its conviction from formalistic heterogeneity, and the bolt which fastens the pages together is the unique artistic personality of their creator.

I have been trying to use words to introduce Boussidan's book but this Haggadah seems to exemplify most aptly the fact that a book need not depend on words. Likewise, contrasts need not have a common denominator. As tradition is not necessarily opposed to modernity, so also the artistic 'I' is capable of blending harmoniously with the historic 'we'.