Ars Judaica-The Bar Ilan Journal of Jewish Art最新文献

{"title":"The Second Jerusalem Biennale for Contemporary Jewish Art 2015","authors":"S. Fraiman","doi":"10.3828/aj.2016.10a","DOIUrl":"https://doi.org/10.3828/aj.2016.10a","url":null,"abstract":"1 The exhibits at the Schechter Institute and the Shelter for Art were affiliated exhibits not vetted by the Biennale board. 2 Numbers Rabbah on Parashat Naso, 4:12. “Another explanation: It is an allusion to [the seventy names of God], the seventy names which Israel bears, the seventy names of the Torah and the seventy names of Jerusalem.” Judah Slotki, translator, Midrash Rabbah – Numbers, vol. 2 (London, 1939), 620. There are several midrashic versions of the list of seventy names. For a scholarly examination of the various names of Contemporary Jewish art is finally enjoying the recognition it deserves, and has found an important home in The Jerusalem Biennale for Contemporary Jewish Art, which was held for the second time from September 24 through November 5, 2015. This year’s Biennale, twice the size of the first one in 2013, was the outcome of concentrated efforts by its founder, Rami Ozeri, and an advisory board of scholars and museum professionals that guided the selection process. Forty-six proposals were submitted, of which nine were accepted. The various works in a wide range of subjects and materials were exhibited in venues throughout Jerusalem. Nearly 200 artists were represented, with groups coming from as far away as Los Angeles, New York, and Buenos Aires. Not all of the artists were religiously observant Jews, or even Jewish, but all of the exhibits dealt in some way with the contemporary Jewish experience, including the Israeli experience. Among the Biennale’s venues this year were representatives of all the streams of Judaism: Reform (Hebrew Union College), Conservative (The Schechter Institute of Jewish Studies), Orthodox (Hechal Shlomo), and Ultra-Orthodox (The Shelter for Art).1 One unique feature of the Jerusalem Biennale is its use of a variety of unique Jerusalem venues as opposed to the “white cubes” built temporarily for exhibits at many other biennales. The principal venue was the Tower of David Museum, which exhibited pieces by the iconic Israeli artists Sigalit Landau and Motti Mizrachi, as well as works by Dov Abramson, Pablo Lobato, and Ynin Shillo, all curated by the advisory committee and shown under the title Jerusalem/ Passages. Abramson created a graphic map of Jerusalem with seventy identically sized tiles for the seventy biblical names of Jerusalem, according to Midrash.2 He displayed unique graphic logos for each area of the city, one on each tile, thus citing both Jewish texts and ceramic tile, which is the traditional medium of decorative art in Jerusalem. Lobato photographed soldiers standing at attention at the Western Wall, and Shillo filmed the Jewish cemetery on the Mount of Olives, capturing the silence of eternity in a meditative piece. Several articles about the Tower of David exhibits appear in the catalogue: Emily Bilski’s essay “Images of Jerusalem”3 deals with the works of Shillo, Lobato, and Abramson, and Amitai Mendelssohn’s piece is about “Sigalit Landau and Yotam From, Salt-Crystal Brida","PeriodicalId":41476,"journal":{"name":"Ars Judaica-The Bar Ilan Journal of Jewish Art","volume":"12 1","pages":"145 - 148"},"PeriodicalIF":0.2,"publicationDate":"2018-03-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47513897","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Humor in Architecture: Jewish Wit on Béla Lajta’s Buildings","authors":"R. Klein","doi":"10.3828/aj.2016.7","DOIUrl":"https://doi.org/10.3828/aj.2016.7","url":null,"abstract":"1 Charles Jencks, The Language of Post-Modern Architecture (New York, 1977); id., The Story of Post-Modernism: Five Decades of the Ironic, Iconic and Critical in Architecture (Chichester, West Sussex, 2011). Architectural humor probably began with Mannerism and partly as early as in the Middle Ages as grotesque diabolic symbols, although not for making fun; see Arnold Hauser, Mannerism: The Crisis of the Renaissance and the Origin of Modern Art (Cambridge, MA, 1986). 2 Peter Eisenman, Re-working Eisenman (London, 1993). Eisenman developed complex theories in which there is a Jewish subtext, but while talking with him he always refused to admit any link to Jewish thought. See György Kunst and Rudolf Klein, Peter Eisenman: From Deconstruction to Folding (Budapest, 1999). Perhaps . hutzpah (see below, n. 30) is the only exception that he admits. However, even prior to Introduction In the present article I posit a link between the “architectural jokes” by Jewish-Hungarian architect Béla Lajta (born Béla Leitersdorfer, 1873–1920) and Jewish wit in fin-desiècle Hungary. By applying humor theories, I look at their formal artistic manifestation and socio-political import in the context of both the intellectual history of the Habsburg Empire and the framework of Jewish–Christian relationships in modern Europe. The analysis of Jewish humor is especially challenging, as it reflects a complex web of the minority’s human, cultural, and religious relationships with the surrounding majority. Humor is often associated with the grotesque and a neglect or denial of tectonic principles in architecture characteristic of the heyday of postmodernism:1 manifestations of humor in contemporary architecture are sometimes related to deconstruction, although their presumably Jewish aspects elude purposeful analysis.2 However, mere grotesque and distortion, erroneous tectonics, or unconventional design may make architecture weird or depressing rather than “humoristic.” I suggest that humor in architecture should exceed the medium and refer to extraneous contents, just as the simple text of a joke often refers to content beyond the given discourse.","PeriodicalId":41476,"journal":{"name":"Ars Judaica-The Bar Ilan Journal of Jewish Art","volume":"50 1","pages":"110 - 93"},"PeriodicalIF":0.2,"publicationDate":"2018-03-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41276719","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Jewish Sanctuary in the Old and New Worlds","authors":"S. Kadish","doi":"10.3828/aj.2016.11b","DOIUrl":"https://doi.org/10.3828/aj.2016.11b","url":null,"abstract":"","PeriodicalId":41476,"journal":{"name":"Ars Judaica-The Bar Ilan Journal of Jewish Art","volume":"12 1","pages":"157 - 160"},"PeriodicalIF":0.2,"publicationDate":"2018-03-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47296502","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"\"There Is No Other Art\": Lola Kantor-Kazovsky's Approach to Nonconformism","authors":"M. Dmitrieva","doi":"10.3828/aj.2017.11b","DOIUrl":"https://doi.org/10.3828/aj.2017.11b","url":null,"abstract":"","PeriodicalId":41476,"journal":{"name":"Ars Judaica-The Bar Ilan Journal of Jewish Art","volume":"13 1","pages":"146 - 148"},"PeriodicalIF":0.2,"publicationDate":"2018-03-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47983705","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Zoya Cherkassky’s Aachen Passover Haggadah: A Subversive Illuminated Manuscript","authors":"Ronit Sorek","doi":"10.3828/aj.2016.9","DOIUrl":"https://doi.org/10.3828/aj.2016.9","url":null,"abstract":"1 Joshua Simon and Ori Dessau, “Ruti and Zoya Built a House,” in A Doll’s House [catalogue, Israel Museum], curator Sarit Shapira (Jerusalem, 2000), 62–64. Zoya Cherkassky’s Aachen Passover Haggadah is a contemporary manuscript that continues the centuriesold tradition of Jewish artists illustrating this text. However, whereas the work reproduces the original text, the graphics constitute a determined, albeit subtle, act of rebellion. The manuscript consists of fifty unbound pages with most of the handwritten text in black ink and the key words in red. The illustrations are in red and black, with occasional highlights of gold and brown, rendered in ink, watercolors, and gouache. The sheets (each measuring 28 × 41 cm) are encased in a black velvet box. Zoya Cherkassky was born in 1976 in Kiev, Ukraine, which was then part of the Soviet Union, and immigrated to Israel in 1991. She studied at the School of Visual Theater in Jerusalem and at the Hamidrashah School of Art, Bet Berl College, near Kfar Saba, from 1996 to 1999. She then collaborated with her former fellow student, Ruti Nemet (b. 1977). As Ruti & Zoya, they were featured in an exhibition, A Doll’s House, in 2000 at the Israel Museum,1 for which they constructed a domestic environment inhabited by dolls representing themselves and others. During 2001–2003 Cherkassky worked on a project entitled Collectio Judaica, featuring objects with visual images adopted from Jewish tradition, but also shaped by anti-Semitic conventions,2 which was sponsored by the Rosenfeld Gallery in Tel Aviv, where it was first exhibited. The artifacts included a gold ornament based on the Nazi yellow star, a pillow decorated with an image of the Wandering Jew, and a series of grotesque “Jewish” dolls.3 Similarly, she created Passover plates with images recalling a blood libel: the plates contain a deceptively restrained design showing a bound child, with hints of blood appearing as red spots in the background. In these works, which are exquisitely designed and produced, the negative becomes aesthetic and the iconic becomes an object of sarcasm. The Aachen Passover Haggadah, the last and most complex part of Collectio Judaica, is now held in the Israel Museum (fig. 1). Cherkassky began working on the Haggadah during a stay in Aachen, Germany, as a participant in an artist exchange program between Germany and Israel. The Israeli artists stayed in North Rhine-Westphalia in October–November 2001.4 In contrast to the other artists, who avoided dealing with the painful history of Jews and the Germans, Cherkassky related to the issue of anti-Semitism, albeit in a complex and multilayered way. The most evident visual source for the Aachen Haggadah is the Birds’ Head Haggadah, an illuminated","PeriodicalId":41476,"journal":{"name":"Ars Judaica-The Bar Ilan Journal of Jewish Art","volume":"12 1","pages":"135 - 142"},"PeriodicalIF":0.2,"publicationDate":"2018-03-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47129886","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Challenging the Non-Jewish Images of a Jewish Queen: Portrayals of Esther by Early Twentieth-Century Jewish Artists","authors":"Monika Czekanowska-Gutman","doi":"10.3828/aj.2016.6","DOIUrl":"https://doi.org/10.3828/aj.2016.6","url":null,"abstract":"This essay is based on a chapter of my doctoral thesis. I would like to offer my sincere thanks my supervisor, Prof. Ziva Amishai-Maisels, for reading earlier drafts of this essay and making numerous constructive and illuminating comments from which I benefited greatly. I am very grateful to Prof. Shalom Sabar for his important remarks concerning Esther scrolls. I am also indebted to the reviewers of Ars Judaica for their insightful comments on this essay. Last but not least I thank my husband, Yonatan, for his valuable suggestions and support.","PeriodicalId":41476,"journal":{"name":"Ars Judaica-The Bar Ilan Journal of Jewish Art","volume":"12 1","pages":"71 - 92"},"PeriodicalIF":0.2,"publicationDate":"2018-03-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46377882","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"The Wanderings of Hermann Struck's Ahasver: The Rediscovery of a Forgotten Painting and Its Evocative Transformation","authors":"Mirjam Rajner, Ahuva Klein","doi":"10.3828/aj.2017.10","DOIUrl":"https://doi.org/10.3828/aj.2017.10","url":null,"abstract":"We would like to thank Prof. Daniel Sperber and Prof. Jacob Klein of Bar-Ilan University, and to the Bessin family for their generous assistance in the preparation of this article. We are also grateful to Yair Ben Uri and Tehila Koenigstein for providing us with important documents relating to Hermann Struck’s paintings in Israel. Prof. Sperber initiated the installation of Hermann Struck’s painting Old Jew in the Faculty of Jewish Studies in the late 1970s. The relief that hangs on the opposite side of Struck’s painting is Shmuel Soltz’s Pardes (1988).","PeriodicalId":41476,"journal":{"name":"Ars Judaica-The Bar Ilan Journal of Jewish Art","volume":"13 1","pages":"129 - 138"},"PeriodicalIF":0.2,"publicationDate":"2018-03-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42698751","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"From Synagogue Furnishing to Media Event: The Magdala Ashlar","authors":"S. Fine","doi":"10.3828/aj.2017.3","DOIUrl":"https://doi.org/10.3828/aj.2017.3","url":null,"abstract":"In memory of Alf Thomas Kraabel (1934–2016). For Kraabel’s contributions to the study of ancient Judaism, beginning with the Sardis synagogue, see A. Thomas Kraabel, J. Andrew Overman, and Robert S. MacLennan, Diaspora Jews and Judaism: Essays in Honor of, and in Dialogue with, A. Thomas Kraabel (Atlanta, 1992). Many thanks to R. Steven Notley and Peter Schertz for their many insights and for reading my manuscript, and to Aren Maier for drawing my attention to the souvenirs sold at Magdala. I also thank Mordechai Aviam, Donald Binder, Jordan Ryan, Rina Talgam, and Jürgen K. Zangenberg for sharing their work and thoughts with me. The anonymous peer reviews have been most helpful, and for that I am grateful. I also thank Father Eamon Kelly for his solicitousness toward me as I have come to understand the site. I first spoke about the Magdala synagogue and its ashlar at “Unearthing Magdala: Where History, Archaeology and Religious Traditions Meet,” a conference organized by the Center for the Study of Ancient Judaism and Christian Origins in Nyack Few periods in the history of Jewish art and visual culture evoke as wide an interest among the scholarly community and within the general public as Roman antiquity. Even the names given to this period reflect its significance: devout Christians refer to it as the “time of Jesus,” the “intertestamental,” and New Testament periods; classicists speak of the Roman Empire; and many Jews know it as the period of “The Second Temple, Mishnah, and Talmud.” Western culture harbors an interest in Jews, their texts and artifacts that is quite remarkable. Within the religious studies community, Jewish art and visual culture of this period is often perceived as an alternate window into the culture of this pivotal era – a direct link to “our” culture heroes unencumbered by later religious tradition and scribal influence.1 It is as a gateway to Jesus beyond the books to Jewish life beyond the Talmudic rabbis – sometimes called upon to affirm tradition, though more often to transform or subvert it. In modern Israel, the history and archaeology of this period are ever present, whether directly through archaeological discovery or more subtly through street names, the national “symbol,” the reproduction of ancient Jewish coins on modern currency and stamps, the subtle presence of mosaic art in modern and historic patterns in the public sphere, and particularly in the rhetoric of modern Israel as the fulfillment of “a hope two thousand years old” in both state and popular contexts.2 While the rhetoric of archaeology as Israel’s national pastime may have faded, each new discovery of an ancient synagogue, interesting coin, or even a glass fragment with the image of a menorah continues to be national and international news. Western society’s interest in Jewish visual culture in Roman antiquity is not satiated by the supply. Each new discovery is subject to far more scrutiny and interest than might be the case with a larger corpu","PeriodicalId":41476,"journal":{"name":"Ars Judaica-The Bar Ilan Journal of Jewish Art","volume":"13 1","pages":"27 - 38"},"PeriodicalIF":0.2,"publicationDate":"2018-03-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43348002","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Depicting Diaspora","authors":"Samantha Baskind","doi":"10.3828/aj.2017.11a","DOIUrl":"https://doi.org/10.3828/aj.2017.11a","url":null,"abstract":"The ambivalence and uncertainty of life in the Diaspora, specifically the effects of diasporic existence on a number of twentieth-century artists across time and place, provide the framework for Carol Zemel’s volume. Comprising five case studies, Zemel’s project takes as its starting point the declaration of the self-proclaimed Diasporist painter R.B. Kitaj in his oft-quoted First Diasporist Manifesto: “Diasporist painting, which I just made up, is enacted under peculiar historical and personal freedoms, stresses, dislocation, rupture and momentum” (p. 1). Indeed, in First Diasporist Manifesto, Kitaj constructed the concept of the “Diasporist painter” to refer to artists, such as himself, who paint “in two or more societies at once” (p. 2). A Diasporist painter can be any Other for, according to Kitaj, “If a people is dispersed, hurt, hounded, uneasy, their pariah condition confounds expectation in profound and complex ways. So it must be in aesthetic matters.”1 Whereas Kitaj implies that Diasporism can be universal, he often positions the concept in terms that relate specifically to Judaism: “Painting is a great idea I carry from place to place. It is an idea full of ideas, like a refugee’s suitcase, a portable Ark of the Covenant.”2 The influence of such a “pariah condition” on art deeply concerned Kitaj, as it does Zemel, who examines it from an unequivocally Jewish perspective. Zemel’s introduction aptly defines Diaspora in its modern incarnation, which comes to the fore amid new concerns that emerged after the Enlightenment and the Jews’ subsequent emancipation. After reviewing thoughts on Diaspora by an array of thinkers, including William Safran, James Clifford, and others, Zemel leans most heavily on Simon Dubnow, a Russian Jewish historian. Dubnow firmly believed that despite their diasporic status, Jews could and should retain their nationhood, yet still live in concert with a host nation by relying on internal structures and spiritual consciousness rather than a physically defined territory. Zemel finds this duality of Diaspora useful on two levels. First, she argues, its double character prompts creativity, the cornerstone of her study.","PeriodicalId":41476,"journal":{"name":"Ars Judaica-The Bar Ilan Journal of Jewish Art","volume":"13 1","pages":"143 - 145"},"PeriodicalIF":0.2,"publicationDate":"2018-03-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49575066","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"The Role of Exhibitions in the Definition of Jewish Art and the Discourse on Jewish Identity","authors":"Kathrin Pieren","doi":"10.3828/aj.2017.7","DOIUrl":"https://doi.org/10.3828/aj.2017.7","url":null,"abstract":"1 Morris Myer, “Iz faran a yidishe kunst? In shaykhes mit der yidisher kunst oysshtelung in der vaytshepeler art galerie” (Is there Jewish Art? In the Context of the Jewish Art Exhibition at the Whitechapel Art Gallery), Di tsayt, May 26, 1927, 2 (Yiddish); the translation from this text is mine. 2 Cecil Roth, “Introduction,” in Jewish Art, ed. Cecil Roth (London, 1961), 17–36. 3 Philip Dodd as cited in Janet Wolff, “The ‘Jewish Mark’ in English Painting: Cultural Identity and Modern Art,” in English Art 1860–1914: Modern Artists and Identity, eds. David Peters Corbett and Lara Perry (Manchester, 2000), 184. 4 Examples of the former (cultural historical) approach to art by Jewish According to Di tsayt editor Morris Myer, who reviewed the 1927 Exhibition of Jewish Art and Antiquities at the Whitechapel Art Gallery in London, the definition of Jewish art was a straightforward matter: “In order to answer the [. . .] question whether we do have Jewish art or whether it is possible to have specific Jewish art, one has to clarify what Jewish means, or rather, what Jewishness means.”1 Basing himself on a spiritual interpretation of Jewish identity, he developed a list of criteria by which to define Jewish art and then classified the artwork on display in accordance with those criteria. Now, as then, various ideas abound as to the definition of Jewish art, but more recent authors have had less confidence in the validity of universal and firm classifications. In Jewish Art, Cecil Roth noted that it would be difficult to find common denominators in the work of all Jewish artists. However, he added that there are also no fixed categories for French or Spanish art: “for it is only by postulating an artificial unity, based on geographical and similar considerations, that one is able to regard the art of any country in all periods as a whole.”2 Philip Dodd has similarly argued that the Englishness of English art is not predetermined, but is constituted and reconstituted for different purposes at different times, and would I suggest that the same fluctuation applies to other art historical categorizations, whether they are conceived nationally, ethnically, or otherwise.3 The concepts of art and identity are in constant flux, so the relationship between the two necessarily fluctuates. If the definition of an artwork as Jewish requires at least an implicit concept of Jewishness, then shifting definitions of Jewish art can provide insight into changing notions of Jewish identity. This article explores the art discourse produced in and by exhibitions of Jewish art in London in the first quarter of the twentieth century and discusses its relationship with the shifting discourses on Jewish identity.","PeriodicalId":41476,"journal":{"name":"Ars Judaica-The Bar Ilan Journal of Jewish Art","volume":"13 1","pages":"73 - 90"},"PeriodicalIF":0.2,"publicationDate":"2018-03-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43384706","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}