Art conflated Jews and Muslims from the thirteenth century onward

Evidence

As stated in previous chapters, in the Middle Ages, Jews and Muslims were often equated in the minds of Christians, and this shared identity continues to be expressed in Renaissance paintings of Jews and Muslims wearing turbans, either harassing Christ or executing a saint. But this is not what Said was pointing to, and in fact, his work addresses colonialism and modernity, not the history of Islamophobia. — Sophia Rose Arjana, Muslims in the Western Imagination, 394 (#corroborates, via linked claim)

Jews and Muslims were often represented as co-criminals. In some paintings, the hierarchical arrangement was shifted, and the Muslim villain was replaced with a Jewish one, or vice versa. In the Norsa … Madonna (c. 1499), the Muslim figure of Averroes seen in the Triumph of Saint Thomas Aquinas (c. 1323) is replaced with a Jewish family. These paintings represent the ways in which Jews and Muslims were interchangeable in the minds of Christians as enemies par excellence. — Sophia Rose Arjana, Muslims in the Western Imagination, 251 (#corroborates, via linked claim)

Categorization

• corroborated: 2 independent passages support this claim
• XREF: connects to: Medieval Christian art equated Jews and Muslims under shared imagery — Sophia Rose Arjana, Muslims in the Western Imagination, 394; Renaissance art visually conflated Jews and Muslims into one enemy category — Sophia Rose Arjana, Muslims in the Western Imagination, 255; European images of Islam crystallized by the thirteenth century. (+11 more)

Broader Connections

• Medieval Christian art equated Jews and Muslims under shared imagery #corroborates (0.95) — Sophia Rose Arjana, Muslims in the Western Imagination, 394
• Medieval art and text conflated Jews and Muslims into a single Saracen body #corroborates (0.95)
• Christians treated Jews and Muslims as interchangeable enemies in art #corroborates (0.92) — Sophia Rose Arjana, Muslims in the Western Imagination, 251