Posts Tagged ‘Bezalel’

Creativity: A Burden Of Choices

January 15, 2016


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When we feel the need to embark on a new creative project, we don’t always have a firm idea for it in mind. Even as we consider possibilities, these can overwhelm us to the point of inertia. At such times, surrendering to indecision is tempting but not necessarily the endgame. Then, when we least expect it, life makes decisions for us. The following is a reflection on balancing the burden of choices from a personal and creative perspective.

As a freelance illustrator, indecision regarding the subject of an artwork was rarely an issue because I’d grown accustomed to working on assignment where the parameters of a project were usually stated upfront by my client. Instinctively, I felt that I might not always be doing assignment work, but couldn’t know why. Perhaps health issues or other unforeseen events would determine that. It wasn’t until after the US economy tanked in 2008 that I was compelled to begin the next phase of my career.

At that time, I’d been working on a long-term dream; a unique personal book project called Between Heaven & Earth: An Illuminated Torah Commentary. Following its well-received publication by Pomegranate in 2009, I was invited to offer many presentations and book signings. At these events, I was surprised to find enthusiastic demand for more of such projects (Books of Psalms, Prophets or a Passover haggadah, etc.), but I was also haunted by the frequent question: “So what will you do next?”  

For me, this query provoked some anxiety because after devoting five + years to Between Heaven & Earth, I was too physically and mentally exhausted to consider my next endeavor. Yet I had the feeling that my work in this genre wasn’t finished. I had casually entertained the idea of building a personal and professional legacy around books that would explore several Biblical tropes, but doing so seemed a daunting and distant goal since it wasn’t yet clear what that legacy should comprise or how it should be framed. I only knew that whatever I did would have to reconcile my own spirituality with my secular worldview. As I wondered whether an idea for a book, a series of drawings or a synthesis of both could teach me how to do this, I remembered an aphorism attributed to the Chinese philosopher Confucius that might yield a clue: “Study the past if you would define the future.”

So I decided to re-visit the notes and sketches in my collection of journals. These little books span decades, but for a strange reason, have gathered no dust. While regularly writing and drawing in new journals, I occasionally re-read old entries and add new insights to them, flattening time as I maintain a ‘dialogue’ with my younger self. This virtual orchard of back-burner ideas has often been amusing, thought provoking and full of choices for potential projects.

However, the process of choosing one among them was far from simple. It would be impossible to predict whether the idea I chose would become viable or have any market value without investing serious time, funds and effort. So at this stage, all I could rely on was my intuition.

On one of these forays, I came across a note that was made during my research for Between Heaven & Earth. I had been looking into incunabula (early printed books and came upon a reference to a 17th century miniature prayerbook. This was a Me’ah Brakhot (100 Blessings) and contained Hebrew blessings that originated in the time of the Biblical King David. According to my journal, I had searched for and found a copy of this beautifully illustrated little jewel and noted that I would like to try my hand at a modern version of it.

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Back in the present, I decided that such a project would not only employ all of my skills as an artist, writer, editor, designer, it would also fit the requirements of my legacy; and so I began to envision the book that would become An Illumination Of Blessings.* At this point, I was faced with making two other choices. One would determine the book’s fate upon completion; the other would be germane to its essence. 

First: should I submit this book to mainstream publishers or self-publish? Both were risky in their own ways. The former, with its often-lengthy approval or rejection times, traditionally offers a financial advance but it also entails editorial and marketing caveats that could entirely change the nature of this project. The latter would require fundraising skills (which I hadn’t yet developed) but it would also allow more creative freedom. Ever the sucker for a new venture, I chose the latter; a choice that would let it become a successfully funded Kickstarter project. 

Second: since I initially planned to self-publish this book and wanted it to include all 100 blessings, I did not set a timeline for its fulfillment. However, when I looked into the requirements for a crowdsourcing project, I learned that for a fundraising campaign to maintain momentum, the optimum timeframe would have to be no more than a year. So in a sense that choice was made for me. Of the 100 blessings (which were both mundane and obscure), I decided to select 36 that were more universal in nature. Guiding this decision was the notion that if this book were successful, it could generate two more volumes that would complete all of the blessings.JournalScans-2009

During the learning curve of my Kickstarter campaign, many other choices presented themselves and I was often intimidated to the point of discouragement. Still, I chose to forge ahead for the reason that will conclude this reflection.

As I became immersed in creating the illustrations and text for this project, the blessing for wisdom offered a subtle insight. It was originally called ‘the wisdom of the rooster’ because we are not thanking God for our own wisdom per se; we are acknowledging His wisdom in creating the rooster with the ability to recognize the difference between night and day. This told me that blessings are more than ritualistic behavior. They are a call to mindfulness of both body and spirit beyond the environs of a place of worship.

Because I had always recited blessings nearly by rote in synagogue services, this idea was an eye-opener; it helped me to understand that we are truly blessed by our ability to choose. By paying close attention to each choice before us while considering its multi-layered consequences we can learn to counter indecision. In this way, our choices become less of a burden and more of a way to achieve a nuanced balance in our lives as we decide how to frame our own personal and professional legacies.

*Images and detailed essays from it were posted here at Imaginarius throughout 2014. 

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The Mindfulness Of A New Endeavor

April 15, 2014

ImageOn the eve of the Pesach/Passover holiday, which begins a time of reflection and renewal of purpose, this blessing for a new endeavor completes the Journeys portion of An Illumination Of Blessings and seems appropriate for today’s Imaginarius post.

While the Passover holiday represents an epic physical and spiritual journey in the history of the Jewish people, I like to view each new endeavor that we undertake, regardless of magnitude, as a microcosm of it. As such, it can be seen as a journey of sorts, independent of whether we leave our homes, workplaces or travel outside of our comfort zones to accomplish something new to our experiences.

Whether we are creating a work of literature, art, music or science, I believe that we are not doing this solely of our own volition, but in a sort of partnership with a larger intelligence that requires it of us. Perhaps this ‘larger’ intelligence is a numinous, spiritual entity or the multifaceted imaginings of all of the ‘threads’ in the larger human tapestry. Either way, our endeavors in sum make each of us a significant thread in that tapestry; an entity alive with potential.

Illuminating this blessing is my representation of the artist/artisan Bezalel in the process of imagining the works he will design for the Mishkan/Tabernacle in the desert. According to the instructions of Moses, who received them at Mt. Sinai, he is to build a structure and ritual implements that will mirror their heavenly counterparts. I have shown him reaching towards the letters of a suspended, spinning pre-Canaanite Hebrew alphabet in a symbolic tribute to his relationship with the Creator in this endeavor and to their mystical role via the techniques of permutation in the creation of the world.

One of these ritual objects is the Ark of the Covenant which will reside within the Holy of Holies (the sacred sanctuary portion of the Tabernacle) that only the High Priest is permitted to enter on Yom Kippur (Day of Atonement). It will support the two keruvim/cherubim to protect the Tablets of the Law, Aaron’s blossoming staff and a jar of manna. Bezalel’s plans for the Ark appear on the papyrus scroll in the foreground along with the Egyptian-influenced ink palettes and drawing tools that he might have used. Some of these tools are also seen in the pocket of the artisan’s work apron. On the vertical loom behind him is the tapestry with representations of the keruvim that will become the parochet or veil guarding the Ark. Although no one other than the High Priest is permitted to enter the Holy of Holies, the veil is meant to provide a virtual glimpse of its guardians to the congregation of worshippers.

This image of Bezalel is one of several I have developed as part of my ongoing exploration and understanding of the Second Commandment (the prohibition against creating graven images) as it affects creative artists. Other versions and essays may be found at:

Bezalel’s Vision: As Above, So Below?

With Divine Spirit: The Wedding Of Heaven And Earth

An Artist In The Shadow Of God.

As the sun sets and the Passover seders begin, there is much to consider about the holiness of even the most mundane aspects of this holiday, by each endeavor that we undertake and how these contribute to life’s larger experience for each of us. By understanding that what we create for our own needs and pleasure can enlighten and benefit others, we acknowledge and thank the One Who created us for the realities we continually create together.

Here’s to a healthy, happy and creative Passover holiday for all.

 

With Divine Spirit: The Wedding Of Heaven And Earth

March 23, 2012


Since 2012, corresponding to the Hebrew year 5773 is a leap year, several of the fifty-four Torah portions are read together so that the differences in these calendar systems may be reconciled. This week, we pair reading of the final two chapters of the Book of Exodus, VaYakhel and P’kudey. Commentary for the images in this post are from my book, Between Heaven & Earth: An Illuminated Torah Commentary (Pomegranate, 2009).

With Divine Spirit
, above, again shows us the master artisan Bezalel working to complete his design and construction of the desert Tabernacle (Mishkan). Here,he is holding one of the results of his ability to permute the letters of the alefbet. The object is the Choshen, the breastplate to be worn by Aaron, the High Priest for the services in the Tabernacle. It is described in one of the sections of a work called ‘Choshen Ha-Mishpat‘ (Breastplate of Judgment) and with some reservations is attributed to the 13th century rabbi and scholar Bahya Ben Asher. The Choshen‘s threads are of crimson red, purple and blue, the three signature colors of all fabrics used in construction of the Tabernacle and priestly garments. Woven into it are twelve stones set into gold frames, each engraved with one of the names of the twelve tribes of Israel. They are arranged in the birth order of Jacob’s twelve sons and in four rows of three stones. Each row is in honor of the Four Mothers, Sarah, Rebecca, Rachel and Leah.
The Choshen and two carbuncle ‘shoham’ stones, also engraved with the tribal names, are attached to the shoulders of the Ephod portion of the High Priest’s garment. These appear in the illustration of Aaron for the Parashah T’Tzavveh. The twelve stones, listed on page 144 in the AfterImages section of the book, are:

Tribe of Reuven: Odem/Ruby
Tribe of Simeon: Pit’dah/Prase, or Chalcedony
Tribe of Levi: Bareket/Carbuncle
Tribe of Judah: Nofekh/Emerald
Tribe of Issachar: Sapir/Sapphire
Tribe of Zebulun: Yahalom/Beryl
Tribe of Dan: Leshem/Topaz
Tribe of Naphtali: Sh’vo/Turquoise
Tribe of Gad: Ahlamah/Crystal
Tribe of Asher: Tarshish/Chrysolite
Tribe of Joseph*: Shoham/Onyx
Tribe of Benjamin: Yashfeh/Jasper

*Tribe of Joseph incorporates the tribes of Ephraim and Manasseh

According to Louis Ginsberg’s Legends of the Bible, Bezalel had the assistance of a special creature to construct these items. It was the tiny Shamir, (shown above Bezalel’s right arm) a worm-like creature that appeared in the evening of the sixth day of Creation. The Shamir was endowed with the unique ability to cut through impermeable materials like gemstones. Beneath the Shamir worm are two objects called the “Urim v’ Tmimim.” The appearance and function of these objects have generated much conjecture. Generally known as ‘oracle stones’ they were placed in the fold of the High Priest’s breastplate. Their alleged prophetic powers allowed him to focus on a specific problem or situation. He would then either obtain a vision or perceive combinations of letters with which he could determine the solution.

Behind Bezalel stands Oholiab, son of Ahisamach of the tribe of Dan, the co-worker assigned to him by God. The scales on his worktable symbolize his tribe and his honest artisanal skills. Oholiab is preparing the gold plate (reading “Holy To The Lord”) that will be attached by a blue cord to the High Priest’s helmet (on the table to his left). Finally, the ‘Parokhet’ or inner curtain for the front of the Ark of the Covenant is shown in the background. According to Parashah T’rumah, “You shall make a curtain of blue, crimson and purple yarns, and fine twisted linen; it shall have a design of K’ruvim worked into it.” Though I have included the specified colors in the image, I have also taken artistic license with the background of the curtain by adding the apotropaic eye in the center.

In The Wedding Of Heaven And Earth, above, under the canopy of Heaven, the Shekhinah, God’s feminine aspect, lifts her hands to bless the people in this symbolic ‘marriage’ between God and Israel. The ‘Bridegroom’ in this union is the Ark of the Covenant. Shekhinah wears the Crown of Paradise with golden pomegranate trees. Her sephirah of Malkhut or earthly monarchy is prominent at the base of the crown. A tiny chuppah adorns the large ceremonial wedding ring held aloft by the K’ruvim on the Ark. Her ‘feet’ resemble the cloven hooves of a calf from the bizarre four-faced ‘Chariot’ creatures in the Prophet Ezekiel’s vision. The full description of this vision appears in the haftorah reading for the Festival of Shavuot.

Below, The Guardian Of The House of Israelimage concludes the Book of Exodus.

It depicts the completed Tabernacle (Mishkan) in the desert surrounded by the tents of the Twelve Tribes of Israel. The color of each tent reflects its corresponding gemstone in the High Priest’s Choshen (Breastplate). Although the text of this Parashah initially seemed to require two illustrations, I imagined an enormous angel bearing both symbols of God’s Holy protection. He wears a head covering that resembles a medieval liripipe. Suspended from its ‘tail’ is an alchemical glyph representing two elements of Creation: air and fire. Finally, I have shown the Pillar of Fire in the form of a Ner Tamid or ‘Eternal Light. The burning bush within recalls the Covenant at Sinai while its chains incorporate the heads of korbanot (Temple offerings). The Ner Tamid has occupied a place of honor over the Ark in synagogues worldwide illuminating our memories of the original Tabernacle that guarded and inspired our ancestors three thousand years ago.

For previews and purchase information of Between Heaven & Earth: An Illuminated Torah Commentary (Pomegranate, 2009) visit: http://bit.ly/g2D9Lm

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