The Tripartite Mahzor is a richly illustrated Hebrew manuscript from Ashkenaz, dating to the 14th century. It is known for its numerous illustrations. Its name derives from the fact that it was divided into three volumes, each of which is currently housed in a different library around the world. This manuscript contains an illustration, directly related to this time of year—just before Passover: the Song of Miriam.
You can view the illustration here:
👉 Dance of Miriam, Tripartite Mahzor – fol. 197r
http://kaufmann.mtak.hu/en/ms384/ms384-197r.htm
The inspiration is clear:
“And Miriam the prophetess, the sister of Aaron, took a timbrel in her hand; and all the women went out after her with timbrels and with dances. And Miriam answered them: Sing unto the LORD, for He is highly exalted…”
(Exodus 15:20–21)
Miriam’s Dance in Medieval Hebrew Art
The scene of Miriam’s song and the women was visually represented in several Hebrew manuscripts of the Middle Ages—likely because of its powerful visual, symbolic, and gendered qualities.
So far, I’ve identified two main categories of such illustrations:
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Miriam and women dancing and playing instruments – without any male figures present
(e.g., manuscripts from 14th-century Spain) -
Miriam and women dancing and playing – facing a figure playing a “kinnor” or lute
(e.g., manuscripts from 15th-century Ashkenaz)
The Song of Miriam in the Tripartite Mahzor
Uniquely, the illustration in the Tripartite Mahzor shows Miriam leading a group of women walking behind a group of men. In her mouth appears a pipe-like flute held in one hand, while her other hand holds a short stick with a rounded tip, which she uses to strike a round drum suspended from her neck by a cord.
It’s possible the illustrator is referencing a medieval interpretation of the Hebrew word “machol” (dance) not as bodily movement but as a type of wind instrument, possibly akin to a flute.
The women’s attire appears to include head coverings, though the illustration is slightly blurred. In contrast, the men ahead of them wear pointed hats—commonly associated with the “Jewish hat” of medieval Ashkenaz.
A particularly striking detail is that the women’s faces and heads are drawn as animal-like, a phenomenon known in Jewish art as “zoomorphic figures”. Scholars have suggested various explanations for this phenomenon, ranging from censorship concerns to symbolic representation.
Reading the Illustration
The women follow the men, and all faces are turned forward—toward the moment of the crossing of the Red Sea.
This positions the Song of Miriam illustration in a unique visual category: Miriam and the women are seen playing instruments (and perhaps also dancing and singing), but behind men, as all the figures move forward toward redemption.
Women and Music – A Unique Image in the Tripartite Mahzor
In my 2020 article on attitudes toward music in the Tripartite Mahzor, I argued that the manuscript generally reflects a non-positive stance toward instrumental music.
However, the illustration of Miriam’s Song may represent an exception. The very depiction of musical activity by Miriam and the women—even if not portrayed with clear approval—may suggest that in exceptional, redemptive moments such as this, instumental musical expression was perhaps even honored.
A Thought for Today
We may ask: why is this visual connection between the crossing of the Red Sea and Miriam’s Song placed here, specifically in the context of Passover?
The Torah places Shirat HaYam (the Song of the Sea) immediately after the miracle of the sea crossing—it is a poetic and communal expression of deliverance. The 14th-century Ashkenazi illustrator may have seen in this connection a relevant message for his own time: a glimmer of hope for redemption even in the face of Medieval persecution, hardship, and exile—perhaps especially during Passover, the festival of freedom.
If you are interested in the connections between music, women, the Bible, and its later interpretations —
feel free to contact me using the form below. I’d love to continue the conversation 🎶
Further Reading
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Elisheva Baumgarten, Mothers and Children: Jewish Family Life in Medieval Europe, 2000
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Zsófia Buda, Animals and the Gaze at Women: Zoocephalic Figures in the Tripartite Mahzor, 2005
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Ilia Rodov, Dragons: A Symbol of Evil in European Synagogue Decoration?, 2005
- Guy Shaked, The Jewish Attitude Towards the Playing of Music in the Tripartite Mahzor, 2020
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Sarit Shalev-Eyni, Jews among Christians: Illustrated Hebrew Manuscripts of the Middle Ages, 2010
Copyright © 2025 Guy Shaked. All rights reserved.
Posted: 08-April-2025, 21:00 (UTC +3)
Last modified:
