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The article studies visual representations of the burgeoning nationalization of the Western Wall and Rachel’s Tomb during the late Ottoman period and until the establishment of the State of Israel. It focuses on representations such as photographs and illustrations meant for sale and distribution to the general public; on ritual objects; on artisanal handicraft meant for hanging in the home; on practical items; and on jewelry.
The visual representations of the sites are examined in this article using four dimensions. On the ideological side, the religious dimension, prominent in the Ottoman period, was coupled with the national dimension during the era of British rule, and even modified to focus on the renewed settlement of the land and the ingathering of exiles. In the practical realm, the domestic dimension defines the artifacts in their incarnation as artisanal handicraft and works of art with a purely domestic existence. The physical dimension relates to the relationship between people, artifacts, and sites. At the end of the process, this semiotic mediation grants a new interpretation to a geopolitical reality.
The article’s claim is that national ideology used religious tradition as a platform to achieve its national goals: to unify the various identities in a multicultural society. Viewing visual commemoration of the burgeoning nationalism of Jewish holy sites in its two other dimensions—domestic and physical—gives this process further validation.