Writing Holiness

How does writing become holy? At first glance, the question appears deceptively simple. Yet over the course of three remarkable days in Berlin, it unfolded into a rich and multifaceted conversation that reached far beyond the manuscript page.

It surfaced during lectures and discussions, over coffee and shared meals, while participants tried their hand at writing their first Hebrew letter under the guidance of a master scribe, and later among the fragile manuscripts preserved in the conservation studios of the Staatsbibliothek zu Berlin. By the end of the workshop, one insight had emerged with particular clarity: although the religious traditions we study differ profoundly, the questions surrounding sacred writing are strikingly similar.

The workshop, The Ethics of the Scribe: Writing as a Sacred Act, marked the first academic event of the newly established Shaping Holiness initiative. Rather than treating sacred writings primarily as repositories of religious doctrine, the workshop shifted attention to those who produced them — to scribes, calligraphers, monks, scholars, painters and artisans whose labour transformed writing into a sacred practice.

What transforms writing into a sacred act? Does holiness reside in the revealed text, in the intention of the scribe, in the ritual performance of writing, or in the communities that preserve and transmit it?

Across Jewish, Christian, Islamic and Buddhist traditions, writing emerged as far more than the faithful reproduction of an authoritative text. It appeared as a disciplined craft, a ritual performance, an intellectual exercise and an act of devotion.

Participants explored the spiritual preparation of scribes, the ethics of textual transmission, the relationship between writing and prayer, the social worlds of manuscript communities, and the significance of the materials themselves—from parchment, paper, ink, and pigments to pens, brushes, and the visual language of calligraphy. Again and again, individual case studies converged on a shared set of questions: What transforms writing into a sacred act? Does holiness reside in the revealed text, in the intention of the scribe, in the ritual performance of writing, in the material artefact itself, or in the communities that preserve and transmit it?

One of the workshop’s greatest strengths lay precisely in the way these questions travelled across traditions. Discussions moved effortlessly between Judaism, Christianity, Islam, and Buddhism, bringing into dialogue medieval Hebrew manuscripts, Qurʾāns, devotional poetry, illuminated codices, calligraphy, and sacred scrolls. Rather than emphasising difference, the papers repeatedly revealed shared concerns: discipline and devotion, accuracy and creativity, humility and authority, material craftsmanship and spiritual intention.

Yet what will perhaps remain in our memories longest is not a single paper, but the conversations that grew around them. Every presentation prompted lively discussion, and questions rarely ended with the formal sessions. They continued over coffee, accompanied participants through lunch, resurfaced during dinner, and often resumed the following morning. Scholars from different disciplines, career stages, and religious traditions met with openness and genuine curiosity, discovering unexpected connections across traditions and methodologies. New collaborations began to emerge, while conversations first initiated in Mainz found new directions in Berlin. This spirit of collegial exchange and shared intellectual curiosity lies at the very heart of Shaping Holiness.

The workshop also reminded us that sacred writing cannot be understood solely through texts and theories. Under the guidance of the renowned soferet STaM Jen Taylor Friedman, participants exchanged manuscripts for quills and ink, experiencing first-hand the extraordinary concentration, discipline and precision required to produce even a single kosher Hebrew letter.

Many of the theoretical questions discussed during the previous sessions suddenly acquired a new and very tangible dimension. A similarly memorable perspective emerged during our visit to the conservation studios of the Staatsbibliothek zu Berlin, where the preservation of manuscripts appeared as itself an act of stewardship — requiring knowledge, patience and care.

Beyond Words

Some of the most enjoyable moments took place beyond the conference room. An evening concert, Beyond Words, with Christine Theus and Tomas Bächli, and a shared visit to the exhibition Ruin and Rush at the Neue Nationalgalerie offered welcome opportunities to continue conversations in a different setting.

As the workshop came to an end, many of us left Berlin with new questions, new ideas and, we hope, the beginning of new collaborations. The conversations initiated here will continue in our forthcoming workshops, publications and joint research projects.