Posts Tagged ‘earth’

The Incredible Slowness of Patience

August 22, 2017

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As I worked to complete the final drawings and haiku for Codex Gastropoda: A Visual Meditation, I learned about Tim Pearce, Ph.D, the Assistant Curator of Molluscs at the Carnegie Museum of Natural History, here in Pittsburgh. When I contacted this walking encyclopedia of snail facts and lore, I was pleasantly surprised at his accessibility and eagerness to talk about the intricacies and nature of his favorite subjects. When I told him of my book in progress, we made arrangements to meet at his department for a private tour of the museum’s vast holdings of snails, shells, and other obscure, mysterious forms of life beneath the seas.

Here is a photo of the Snail Man himself wearing his favorite hat!

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And what a collection! Giant conch shells once used as trumpets by ancient island tribes to gather their people for special events or war:

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many varieties of cone shells that had contained carnivorous snails who project a tiny dart from their bodies that are loaded with a compound containing 50+ different toxic chemicals! Their shells are very attractive but don’t get too close,  Mr. Pearce warned.

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We think of snails as carrying their own houses, but this chitons’ shell reminded me of a knight’s armor or shield!

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Their names are a mouthful to pronounce but these Xenophoridae or carrier shells are worth a closer look for their ability to disguise themselves in the deep seas against predators by secreting a sticky substance which they use to glue many abandoned shells to themselves as camouflage! Below is the Xenophoridae spread from Codex Gastropoda which I’ve envisioned as a gathering place for a summit of snails:

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Finally, I was introduced to Tony (i), a snail whose name Tim spells with both an ‘i’ and a ‘y’ because this tiny creature is an hermaphrodite; it hosts both male and female gender characteristics. If you can be patient for the three minutes it takes for this little video clip, you can see tiny Tony (i) emerging from his/her shell! Just click on this link to view the video:

https://www.dropbox.com/s/7spialg7hn0fj8b/TimPearceSnail-Trimmed.mov?dl=0

I have a small edition of Codex Gastropoda: A Visual Meditation (Imaginarius Editions, 2017) available for preview and purchase with credit card or Paypal for $30.00 at my Magic Eye Galleryhttp://bit.ly/2vzsSTM or at my Etsy shop: etsy.com/shop/Imaginarius

You may find that the images and haiku that comprise Codex Gastropoda: A Visual Meditation are a fine antidote to turbulent times like ours for they encourage us to patiently look, listen and THINK beyond the obvious…

 

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Codex Gastropoda: A Visual Meditation

July 26, 2017

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You know the old adage, “Time passes quickly when you’re having fun” ? Well, this sentiment truly described the years between 2007 and the present when I began thinking about snails. Now, why on earth would anyone care about snails except as a purportedly (I say ‘purportedly’ because these creatures are among those forbidden to me by religious doctrine) tasty dish served with garlic butter?  Because I actually find them fascinating since I am able to look at them objectively for their natural beauty and metaphoric value without planning how to cook them.

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These musings slowly inspired a series of eighteen drawings on several species of snail (a.k.a mollusca/gastropoda). Some of them appeared along with my thoughts/poems about them over those years in several blog posts here.* Later, during this project’s development, a friend loaned me an eye-opening book that proved very inspiring and that I now recommend to you: The Sound of a Wild Snail Eating by Elizabeth Tova Bailey (2010). http://amzn.to/2w18Zpc

My drawings are not strictly scientific but an amalgam of fact and fancy. Each tells its own story, inviting questions and second glances. At first, not knowing whether these drawings should become a book or simply a portfolio collection, I put out a query on social media.  Though enthusiastic early feedback suggested a book, I still liked the idea of a portfolio collection and decided to publish a ‘bookfolio’ (a portfolio in book form) as a sort of compromise.

In this light, I considered writing more thought/poems like those in earlier posts. However, I soon determined that haiku (seventeen-syllable non-rhyming Japanese poems), with their economy of language would better complement the nature of my drawings.  Slyme-TextGrid-8x10.jpg

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Now, I am happy to announce the release of Codex Gastropoda: A Visual Meditation. This 44-page ‘bookfolio‘ includes an introduction and has just been released from Imaginarius Editions in an initial small press run.

You can preview and purchase it (US$30) at my online gallery: http://bit.ly/2vzsSTM

Codex Gastropoda will soon be available at Amazon but for now you can also find it at my Etsy Shop: etsy.com/shop/Imaginarius

Given the experiences that inspired it, my goal for Codex Gastropoda: A Visual Meditation became to raise awareness of the wondrous details that inform Creation and their consequences for our world. I hope this visual journey and spare prose will also inspire you to appreciate our complex existence and perhaps add your own words and ideas to the continuum of human creativity.  

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* https://wordpress.com/post/imaginarius13.wordpress.com/754 https://imaginarius13.wordpress.com/2011/03/17/the-snail-queens-soliloquy/  

*https://imaginarius13.wordpress.com/2010/12/30/postscript-for-the-new-year-a-divination-of-snails/ 

*https://imaginarius13.wordpress.com/2010/12/26/codex-gastropoda-4athe-time-snails/ 

*https://imaginarius13.wordpress.com/2010/10/21/codex-gastropoda-2-the-snails-song/ 

Bestiary: An Imaginary Menagerie

October 27, 2016

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In an essay entitled ‘On The Shoulders Of Giants’, posted on May 5th of this year, I offered a glimpse of my new alphabetical book project in progress. Today, I am pleased to let you know that it is now complete! It includes alliterative text and illustrations for each of twenty-six letters, a preface and artist’s notes. On Wednesday of this week, my book proof arrived looking exactly as I’d intended, so I turned around and ordered  my first small edition of twelve, scheduled for delivery early next week. I am accepting advance orders now at The Magic Eye Gallery: http://magiceyegallery.com/BookPage.aspx?id=8 

Here are some thoughts on my process and a bit of backstory:

Ideas are mercurial; they may appear to our imaginations in glorious finished form, awaiting physical birth or, more likely, just float by our consciousness, merely hinting at their potential. The idea for Bestiary: An Imaginary Menagerie simmered slowly on one of my back burners for several years as sketches and project notes in one of my journals. It had begun as a casual suggestion for an illustrated alphabet book from my former agent. Projects like this one can be very greedy with one’s time and generally do not pay the bills! So although I had done a few concept drawings at the time, other less speculative projects continued to demand my attention.

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Then, late in 2015, following publication of two other titles (An Illumination Of Blessings and Notes From London: Above & Below), I decided to revisit the alphabet book idea. Paging through that old journal, I paused at some drawings of a unicorn and an armadillo which led me to imagine an alphabet book built around the real and imaginary creatures that have been portrayed in illuminated manuscripts for centuries. These colorful hybrids of letterforms and fanciful illustrations first appeared in the 2nd century Greek Physiologus, a compilation of the ancient wisdom and symbolism of animals mentioned in the writings of naturalists such as Aristotle, Herodotus and Pliny The Elder. Later adaptations from the 11th-13th centuries elaborated on these bestiaries and were flavored with Biblical stories, mysticism and religious doctrine. Bestiaries reached their zenith during the medieval era, when artists were commissioned by nobility and wealthy merchants to interpret their naïve descriptions of strange creatures seen on their voyages to exotic lands. Wikipedia offers a fine, detailed history of bestiaries here:  https://en.wikipedia.org/wiki/Bestiary

Eventually, my journal sketches became the basis of the finished illustrations below:ArmorOnAnArmadillo-FINAL.jpgunicornwithuniverseunderumbrella-final

Yet, despite our greatly evolved knowledge of zoology since then, why does this timeless literary art form remain popular among the offerings of contemporary publishers? I propose that it does so because we have yet to fully understand the synthesis of our own evolving animal natures with the gifts of speech, writing and acumen.

That said, I’ve always loved to draw animals and have featured them in many original works of art. However, most of my animals are not portrayed realistically; I prefer to imbue them with qualities that reflect our human fortes and foibles. Those bestiary illustrations in which the animals display such attributes were important inspirations for this book. Their titles along with illustrated excerpts were discussed in my previous essay (http://bit.ly/2fjVcpi).

In designing Bestiary: An Imaginary Menagerie, I’ve framed each illustration with an alphabetical alliteration both for organizational purposes and simply because it was great fun to do! My hope is that my efforts will complement the voluminous body of bestiaries throughout history that are tributes to the wonders of creation and to our human imagination…

 

An Illumination Of Blessings Is For Real!

September 22, 2014

Dear Backers of An Illumination Of Blessings:

As of this past Monday, September 15th, I am pleased to announce that with your generous support and encouragement, this Kickstarter project is done and delivered! It’s been a wonderfully challenging year and a half of research, writing, design and illustration for these 36 illuminated blessings including the  interactions with all of you throughout the process. Recently, I’ve been asked whether another edition of blessings will follow to bring us closer to the originally intended count of 100. Perhaps, if there are a significant number of requests for it. But for the moment a bit of recovery is in order as I contemplate a short list of options (which include both Judaic and secular themes) for my next project. Your questions and suggestions are welcome!  Again, thank you all from the bottomless-ness of my creative well: I look forward to continuing our creative conversations and collaborations!

Ilene Winn-Lederer, September 18, 2014

Eden’s Edible Blessings

July 1, 2014

BlessingForFruit+VegetablesRGB6-50%.jpgAlthough we are told in Genesis/Bereshit (1:29) that “God said {to Adam}, “Behold, I have given you every seedbearing plant on the face of the earth, and every tree that has seed-bearing fruit. It shall be to you for food,” no specific varieties of fruits or vegetables are named. Not even those on the Trees of Life and Knowledge whose fruit was off-limits for human consumption. Legend suggests that the Tree of Life bore every type of fruit necessary to maintain health and immortality but did not indicate whether these properties were the benefits of one type of fruit or many. Similarly, the mysterious fruit of the Tree of Knowledge was said to provide the sort of self-awareness that led to human mortality.

Legend* relates that Adam was named ‘Adamah’ (Hebrew for Earth) because he was made of the dust gathered from the four corners of the world. His naming seems ironic because if this proto-human was constructed to be welcomed at any place on Earth where his death would occur, did G-d know His creation better that we suspect and that expulsion from Eden was inevitable? These concepts are painted with an unimaginably broad brush opening the way to endless interpretation and speculation.

Nevertheless, Adam was considered the ‘crown’ of Creation and was appointed caretaker of the world, with a caveat; that he must be utterly dependent on it for his basic needs. So, as fruit trees and edible plants serve those needs, they become a metaphor of our relationship with our environment.

It is probably safe to venture that the fruits and vegetables we eat today are not wildly different from the those in the Garden of Eden with the the exception of our cleverly cultivated hybrids; the results of our scientific manipulation of those original species. We may have paid a terrible price for our knowledge, yet we have prevailed and, over the centuries, created taxonomies for naming them while making astonishing discoveries of both their nutritive and medicinal value for our bodies.

So what does this have to do blessings? Nothing if you are a strict evidence-based rationalist, believing that all life on earth evolved of its own unscripted volition and that we are so intelligent that we’ve figured out how to use it to our advantage. But if, by acknowledging the divine source of our intelligence behind the beautifully intricate design and purpose of each fruit of the tree or ground that we consume, then reciting a blessing for these creations is surely in order.** Particularly if we consider that such foods exercise our senses of sight, smell and taste, helping to provide our souls with healthy habitats.

As a child, I existed pretty much as a creature of instinct and need, unaware of the many ways by which we can acknowledge and understand our lives. Most of us, I suspect, still do so. Especially in a country such as ours, where religion has become a power tool, abundance is easily taken for granted, time represents money and we are deluded enough to imagine we will live forever.

But as I slowly realized all the ways we can choose to enhance and maintain ourselves even as we understand our physical limits, I now prefer to stop and think before taking that first bite of apple or tomato and murmur a little thanks to our Source for our partnership that makes it all possible.

These concepts and sentiments formed my decision to include the blessing for fruits of the tree and ground as #34 of 36 in An Illumination Of Blessings.

For this illustration, the choice from among the myriad fruits and vegetables available to us was quite difficult, especially knowing that I needed to include representatives of both tree and ground. As an artist, I limited my choices to those whose shapes and colors were visually harmonious or, as Eve/Chava put it, ‘pleasing to the eye’. These were designed and placed to form an intricate border around the blessings. Tiny versions of several of them serve to enhance the initial letters of each blessing. Finally, I’ve placed everything against a black background of ‘earth’ from which all originates and is renewed.

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To learn more about this successfully funded Kickstarter project and pre-order your own book and prints, please visit:
http://www.kickstarter.com/projects/1330347473/an-illumination-of-blessings
and: http://winnlederer.com/blessings/index.htm
PLEASE NOTE:
When you visit my Kickstarter page you will see that the top reward level of your $500 contribution towards this project entitles you to have your name included on my Dedication page! This offer will stand until July 15, 2014 when I hope to have the book ready to go to press! You may contact me with your offer at: ilene@winnlederer.com.

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* The Creation Of Adam from Legends of the Bible: Louis Ginzburg, p. 28

**For a tree-borne fruit to receive the ‘Ha-Etz’ blessing, it must come from a perennial tree that doesn’t renew its stem or grow too close to the ground, such as apples, figs, dates and plums. Fruits of the ground that receive the ‘Ha-Adamah’ blessing include all vegetables, legumes, pleanuts and any fruit that is not covered by the Ha-Etz blessing such as melons, bananas, pineapples and strawberries.

Beholding Beauty : A Blessing Of Appreciation

June 25, 2014

BlessingForBeautifulBirds+TreesRGBBeauty is in the eye of the beholder,” goes the old cliché, but it is a quick sound bite at best because it doesn’t attempt to define beauty nor does it offer insight into alternative, more subtle perspectives.

At first glance, this blessing recited upon seeing something beautiful in our world seems ‘sound-bit-ish’ and similar to the one recited on encountering a fragrant tree. Both are found in the Talmud (Tractate Berakhot, 58b) and both express appreciation to our Creator for the gifts of Creation and of our five senses. The latter focuses exclusively on the sight and smell of certain trees while the former also recognizes trees, but includes the singular esthetic beauty of humans, birds and animals that we acknowledge with our senses of sound, touch and taste. Together, they serve to enhance perception of our environment and help us to connect with our divine origins.

The words of the blessing seem simple enough, however the concept of beauty in life is anything but. So how does an artist begin to choose which elements will represent the depths of meaning inherent in this blessing? I knew that I needed to portray some sort of tree along with a person, animal or bird, though I didn’t know which of these I would choose or why.

Of all my references, the Torah and its associated collections of commentary from across the  centuries have never failed me, even on quests that are secular in nature.

As I thought about what sort of tree to illustrate for this blessing on natural phenomena, I remembered a midrash on the Book of Genesis concerning the mysterious Etz Chaim (Tree of Life) and the Tree of Knowledge in the Garden of Eden. The former bore fruit which kept Adam and Eve healthy and immortal while the fruit of the latter was forbidden to the first couple for reasons not explained. Perhaps this was the model for the inscrutable mitzvot known as ‘chukkim’? These are a category of commandments which are to be followed without question as a test of our obedience and respect for our Creator.

Inevitably, mysteries invite speculation. This midrash suggests why no one knows what types of trees they were. Despite the arguments of medieval churchmen, scholars and artists that the Tree of Knowledge was an apple tree (which did not exist in the Middle East at that time), many other species have joined the fray with inventive justifications; wheat, pomegranate, quince, St. John’s Bread (carob) and date palms, even grapevines and fig trees. These justifications are too numerous to list here but can be found in B’reishit Rabbah, a book of commentary on Genesis*.

The commentary concluded that since Adam and Eve ate from the Tree of Knowledge against the prohibition and precipitated their disastrous expulsion from the Garden of Eden, its species would always remain unknown to honor its innocence in bringing death to the world and to prevent its extinction from Earth’s biosphere.

Although the nature of the Tree of Life also remains unknown (except as a metaphor of Torah wisdom), Rabbi Abba of Acre** offers the etrog (citrus medica) as a likely candidate. He suggests that Eve found the wood of the etrog tree edible (Genesis 3:6). Later authorities such as Rabbi Abahu*** translate the word etrog as ‘ha-dar’ or that which dwells, because its fruit, in both young and old phases remains on the tree through all seasons.**** The ‘pri etz hadar’ or fruit of the beautiful tree is described in the book of Leviticus (23:40) and though it originated in India, it has been cultivated in ancient Judea for more than 2000 years.

In common use, the word ‘ha-dar’ comes from the Aramaic language and means ‘beautiful’. Because an etrog is the only fruit that tastes like its tree, both are considered beautiful. The fruit is said to symbolize the human heart as it represents a person who is able to internalize scholarship and also perform good deeds (mitzvot). There was much more commentary on the etrog, but at this point, the etrog tree became my obvious choice for this illustration. In this interpretation, I’ve given my virtual Etz Chayim 22 etrogim, symbolizing the 22 letters of the Hebrew alphabet which, according to Kabbalah, are the building blocks of Creation.

For my representative choice of beautiful birds, the commentaries on this blessing offered the fine examples of peacocks and parrots because these species are unique  for their graceful forms and beautiful colors. I arbitrarily added the cockatoo, a distant cousin of the parrot once known as the crested parrot, for compositional balance and simply because I love to draw them! To complete my illustration, I’ve prefaced the blessings English and Hebrew calligraphy with initial caps constructed from macaw parrot and peacock feathers respectively.

If this blessing and my visual interpretation of it put you on the path of marveling daily at the world around us and expressing your appreciation of it’s myriad gifts, then perhaps I’ve begun to meet my own purpose in this effort. Thanks for staying with me; the book is becoming more of a reality with each post!

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To learn more about this successfully funded Kickstarter project and pre-order your own book and prints, please visit:
http://www.kickstarter.com/projects/1330347473/an-illumination-of-blessings
and: http://winnlederer.com/blessings/index.htm
PLEASE NOTE:
When you visit my Kickstarter page you will see that the top reward level of your $500 contribution towards this project entitles you to have your name included on my Dedication page! This offer will stand until July 15, 2014 when I hope to have the book ready to go to press! You may contact me with your offer at: ilene@winnlederer.com.

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*B’reishit Rabbah 15:7, The Book of Legends: Sefer Ha-Aggadah, ed., Hayim Nahman Bialik, Yehoshua Hana Ravnitzky (New York: Schocken Books, 1992) pp. 21–2


** Abba bar Acre was a 3rd century Palestinian ‘amora’ (commentator on the Oral Torah).

*** Rabbi Abahu was a 2nd generation ‘amora’ living in Caesarea, a major influence on ethics, philosophy and religion. http://www.chabad.org/kabbalah/article_cdo/aid/2443094/jewish/The-Singular-Tree.htm/mobile/false https://sites.google.com/site/rabbiabahu/stories-and-biographical-info

**** http://www.chabad.org/holidays/JewishNewYear/template_cdo/aid/746603/jewish/Why-cant-I-use-a-lemon.htm/mobile/false

Sailing The Soul Of Creation: A Blessing For The Seas And Oceans

June 11, 2014

BlessingForSeas+OceansRGB15Although orbiting satellites send us spectacular images of the clouded Earth amidst its swirling seas, these views pale in comparison to our physical comprehension of their vastness and power from our perspective of dry land or from the decks of our ships that carry us over them. As we marvel at the unknown depths from where some pre-conscious form of us emerged, the magnitude of the sea speaks to the essence of what we are. The sea, if you will, is the soul of Creation.

Observing that the Earth’s waters dance on its tectonic armature in time to the moon’s allure and the mercurial winds has provoked the fear and wonder inspiring the religions and myths of many cultures whose livelihoods depend on the seas. Prayers for the safety of their fishermen, travelers and for the lands on which they live are central to these systems. Where these prayers were once directed at individual deities deemed to control our planet’s natural forces, in Judaism, such prayers are enhanced by the Birkat Ha-Yam, a special two-part blessing for the seas and oceans.

Since I have lived mostly in Mid-Atlantic cities and experienced the oceans rarely except through my travels, it is very special to me. One part acknowledges Creation as it addresses the large-scale wonders of nature while the other is directed at a specific large body of water that must have existed since the six days of Creation and must not be land-locked. It seems that no one has ever agreed upon which ocean fits this description, but according to certain rabbis* the Birkat Ha-Yam blessing was intended for the Mediterranean Sea, most likely the largest one in their own experience.

Unlike those prayers that are entreaties for divine mercy and protection from the elements, the verses of the Birkat Ha-Yam are statements that acknowledge our humility in the face of our Creator and our wonder at the constancy of Creation.

When I began to work on this blessing, I thought that a prosaic rendering of a seascape would suffice. But I soon learned that I wouldn’t get away that easily. Given our ancient and complex relationship with our aquatic ecosystem, the Birkat Ha-Yam begged for a more nuanced visual narrative.

The image that immediately came to mind was a detail from one that I’d created for Parashat Eikev (Book of Numbers/Devarim) in my previous book, Between Heaven & Earth: An Illuminated Torah Commentary (Pomegranate, 2009). It showed a grandfather and granddaughter listening to the still, small voices in their hearts through the  metaphor of a conch seashell.

I chose this metaphor to express the subtlety of such an experience because I have a similar shell in my collection of oddities and have always imagined the sound of the seas echoing from its inner spirals. So a large conch shell became the centerpiece of my illustration, open to reveal the ‘heart of the sea’.   Within the conch is a tiny 15th century Spanish caravel sailing perhaps on a trade mission for its merchant owner. With a nod to the Biblical Leviathan, the piscine creature swims lazily in wait for the time of Messiah.
Below, the conch’s compatriots nestle among a watery scape of seaweeds. In the morning sky above, a faint moon observes the four winds competing to guide the ship to its destination as the seagulls survey their boundless territory.

At last, even when I thought the illustration was nearly done, I still couldn’t resist playing with one last image; do you see the fanciful little beast** hiding among the sea wrack?

Dear Backers: The Birkat Ha-Yam is the 31st of 36 blessings to be completed for An Illumination Of Blessings! We’re almost there! 
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Please Note: Even if you are not a backer on this Kickstarter-funded project, you may still pre-order your copy (ies) of An Illumination Of Blessings and/or prints from its illustrations here: http://winnlederer.com/blessings/index.htm   Also, if you visit my Kickstarter page at: http://www.kickstarter.com/projects/1330347473/an-illumination-of-blessings you will see that the top reward level of your $500 contribution towards this project entitles you to have your name included on my Dedication page! This offer will stand until July 15, 2014 when I hope to have the book ready to go to press! You may contact me with your offer at: ilene@winnlederer.com. *******************************************************  
* In the Shulchan Aruch 228:1(The Code Of Jewish Law) compiled in 15th century Safed by Rabbi Yosef Karo.
** Hippokampus (from the Greek for horse (hippo) and sea monster (kampus), named for its resemblance to a seahorse.

An Illumination Of Blessings Update: On Moonlight And Memory

May 16, 2014

RoshHodesh-MoonBlessing50%Science and religion have always been strange bedfellows, each occupying neighboring compartments in our minds, yet ever distrustful of each other.

A quotation attributed to Albert Einstein offers some insight: “A legitimate conflict between science and religion cannot exist. Science without religion is lame, religion without science is blind.”

Nevertheless, they remain eternal antagonists, each perhaps seeking an impossible validation from the other.

This observation is far from new, but it came to me as I considered how to approach this blessing for the moon, an ancient source of wonder until July of 1969, when American astronauts walked on the moon. They became at once part of its history and its future in human perception.

Although they seemed to prove that the moon was physically no more than a rather large, cratered and lifeless asteroid, unworthy of the age-old mysteries attributed to it, still, they changed little for most of us earth-bound creatures in terms of our romantic, spiritual or prophetic predilections. We still love to invest the moon with human qualities in our arts and culture or laugh at the idea that it is made of green cheese.

Yet, whether we are romantic or pragmatic, we can safely admit there is a certain subtle beauty in the presence of the moon; it’s there to light our paths at night and in a numinous way, to remind us that we are not alone or without purpose in the dark.

These ideas might be part of the foundation underlying religious rituals created around the moon. In Rabbinic tradition, the newly minted Israelites were commanded to sanctify the new moon upon their delivery from Egypt. “This month shall mark for you the beginning of the months; it shall be the first of the months of the year for you.” (Shemot/Exodus 12:1-2)

This practice directly conflicted with Egypt’s officially sanctioned sun worship. It also ensured that the moon would not become an object of worship; instead, its cycles became the basis of the Jewish calendar, a valuable tool for timekeeping and agricultural foresight.

In this system, each month defines one lunar cycle as the moon completes one orbit of earth. One hallmark of the lunar calendar, the Rosh Hodesh* holiday is observed with prayers and blessings at the point in the moon’s orbit when it is suspended directly between earth and the sun so that a thin crescent of it is visible to all, marking the beginning of a new month and/or season.

Metaphorically, the appearance of the moon as it progresses through its phases, illustrates our ‘deliverance’ from spiritual darkness to light. It would seem that such ‘enlightenment’ included recognizing the importance of women in early Israelite culture, yet I wonder, does it also tell us that the story of human existence would always be written in alternating chapters of darkness and light?

It is interesting to note that the monthly cycles of both women and the moon figured in the establishment of Rosh Hodesh as a holiday. Perhaps this reflects the idea that both women and the moon are capable of rebirth or renewal and must be honored as such. But two references in the Babylonian Talmud perceive it as a special one for women in particular while an 8th century midrash provides the backstory.

The first reference, in Tractate Megillah (22b) states that women must be exempt from work** on this day. The midrash, Pirke De Rabbi Eliezer*** suggests that after the incident of the Golden Calf, women were given a work-free holy day as a reward for their refusal to contribute their jewelry to the construction of the idol. Later, the French medieval Torah commentator Rashi (Rabbi Shlomo Yitzchaki) specified that the exempt work included spinning, weaving and sewing since these were the skills that women freely contributed to the construction of the Tabernacle (Mishkan) following the Exodus from Egypt.

The second reference points to a related monthly prayer called Kiddush Levanah****, or The Sanctification of the Moon in which we express our appreciation for G-d’s celestial gifts. It is traditionally performed outdoors in the moonlight (preferably under a cloudless sky) at the end of the Sabbath from 3-7 days after the new moon is visible. So, in Sanhedrin (42a) Rabbi Yochanan teaches that one who blesses the new moon in its proper time is regarded as one who greets the Shechinah (female aspect of the Divine Presence).

Although Rosh Hodesh celebrations have an ancient history, it wasn’t until the early 1970’s that such celebrations became popular. They were one of the ways in which Jewish women could explore and express their own spirituality while enhancing their communal roles. These events gave birth to support groups for various lifecycle issues and forums for women’s studies.

In my illustration for The Blessing of the Moon, I have visually addressed both the Rosh Hodesh and Kiddush Levanah rituals. The sun has just set beyond the distant mountains and on a hillside above the sea. A woman wearing a tallit, or prayer shawl is dancing to the rhythm of her tambourine as she raises a cup of water in tribute to Moses’ sister Miriam and to all women among the Israelites who crossed the Red (Reed) Sea after the Exodus from Egypt. It was the first performance of a song-prayer, Shirat HaYam (Song Of The Sea) that is now part of the morning prayer services worldwide. The letterforms on the cup spell ‘Miriam’ in paleo-Hebrew, an early form of modern Hebrew.

I’ve shown four phases of the moon as it turns from new to full, from darkness to light, tracing its path along the ethereal form of a nocturnal quadrant, used in medieval times for astronomical navigation, perhaps on a ship like the caravel that is arriving with the tide. The ship and quadrant represent the human curiosity and ingenuity at the core of both science and religion while the woman on the hill knows deep within that love, peace and gratitude will mitigate their conflict if only we pay attention to the gifts we have been given.

* head of the new (month)
** except for work which cannot be left over for the following day, (ex.child care)
*** Chapter 45 in this collection of Torah exegesis and folklore
     http://en.wikipedia.org/wiki/Pirke_De-Rabbi_Eliezer
**** More information on Kiddush Levanah may be found at these links:

http://www.chabad.org/library/  article_cdo/aid/1904288/jewish/The-Sanctification-of-the-Moon.htm

and http://www.chabad.org/library/article_cdo/aid/607391/jewish/Thank-G-d-for-the-Moon.htm

Sunrise, Sunset, So What?

May 6, 2014

ImageOn average, we spare little daily thought for the sun other than to its perceived influence on the esthetics of the next twenty-four hours. It is, therefore, we are. End of story.

But since the sun’s first appearance in the skies on the fourth day of Creation, according to the Torah (Book of Bereshis/Genesis), this story is not one with an ending; it is punctuated with the myths and folklore of every human culture from the beginning of recorded time and perpetuated across generations in forms apropos to each telling.

These tales comprise a portion of the collective effort to comprehend our origins amidst our mercurial environment, the relentless cycle of the seasons and our place in the cosmos. They are an amalgam of sincere theological speculation, intriguing scientific discovery with some millennial fear-mongering thrown in for spice.

In tribute to this timeless portrait of human curiosity, I’ve chosen to include a rare Jewish blessing for witnessing natural phenomena in my book, An Illumination Of Blessings.

The Birkat Ha-Chamah or Blessing of the Sun is rare because it is recited only once every twenty-eight years, most recently in April of 2009. It is not to be found in standard prayer books; rather, it is distributed to participants at each recitation ceremony. The blessing dates back to Talmudic times (first century AD) when the rabbis, wishing to acknowledge the sun’s importance to life on Earth without inviting idolatry, addressed the star theologically without attributing divinity to it.

According to rabbinical opinion in the Babylonian Talmud, the blessing is to be recited every twenty-eight years on the vernal equinox* to commemorate the sun’s return to its original position (relative to the Earth) on the fourth day of Creation when it is fully visible above the horizon at dawn. They taught: “One who sees the sun at the beginning of its cycle…recites: ‘Blessed is the One Who made the Creation’.” (Tractate Berachot 59b)

My illustration for this blessing is set in medieval Europe when rabbi-scholars like Maimonides (the Rambam) and Samuel ben Judah ibn Tibbon engaged in lively discussions of Torah and Talmud, codifying their opinions for future generations.

On a grassy hillside against the backdrop of a castle fortress-town, a prayer shawl (tallit) clad man and his son are awaiting the full sunrise as they imagine a vignette of the fourth day of Creation framed within an astrolabe. The hand-shaped (hamsa) device from which the astrolabe is suspended is meant to represent the idea that its five fingers remind us to use our five senses to praise G-d. The hamsa is also referred to as the Hand of Miriam in remembrance of her as sister to Moses and Aaron.** The boy holds a ram’s horn (shofar), which will be sounded when the sun has risen.

This image was suggested by the Birkat Ha-Chamah ceremony of April 8, 1981, led by Rabbi Zalman Schachter-Shalomi who stood on the observation deck of the Empire State Building in New York and sounded the shofar amidst a crowd of 300 participants.

I think, perhaps, this is how we might understand our place in the cosmos. As witnesses to the wonders of created life, that is a dance of chaos and order, we are privileged to question it, but are never to know all the answers or the end of the story; at least, not yet.

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* Why every twenty-eight years? Although the sun rises and sets in the east and west respectively, its position shifts seasonally, moving to the north in summer and to the south in winter. The midpoints of this movement are the equinoxes which mark the autumn and spring seasons. To complete this cycle requires one solar year, the length of which varies by slightly more than a day in our calendar. So the rabbis calculated that when the equinoxes have moved forward exactly thirty-five days, they will occur on the same day and hour as on the first hour of the fourth day of Creation.

** Some of you may wonder why I have not included a woman in this ceremony. This is because the Birkat Ha-Chamah is a time-based mitzvah (commandment) which women are exempt from observing. You can read more about this tradition here: https://www.jewishvirtuallibrary.org/jsource/Judaism/woman_commandments.html Nevertheless, the Hand of Miriam attached to the astrolabe represents their spiritual presence.

From Day Into Night: The Wisdom Of Perception

March 9, 2014

ImageOrdinarily, I like to deny subscribing to coincidence, but I must stand corrected on account of this week’s installment from An Illumination Of Blessings.

Anyone of middle-age and beyond will readily admit that as we age, time seems to pass more quickly, yet we only recognize that deceptive phenomenon in retrospect.

Last week, when I chose to begin work on this blessing for the wisdom to distinguish day from night it did not immediately occur to me that coincidentally, we were about to begin the ‘spring ahead and fall behind’ cycle for one hour semi-annually in the parlance of daylight saving time.

Today, it began around 2AM this morning and though I can always feel the transition instinctually, the fact of it never fails to take me by surprise.

This tradition began centuries ago as an informal observance of the Earth’s rotation in relation to the effects of the sun and moon cycles on agriculture, lifestyle and human productivity. It became progressively codified and enforced well into the twentieth century but today, there are groups advocating for its eradication in the interest of simplifying travel, scheduling, commerce and environmental conservation. The latter justification is ironic considering that daylight saving time was initially instituted as an energy saving measure!

However, since daylight saving time may have derived from our ability to distinguish and contemplate the differences between day and night, it is only marginally related to today’s blessing essay. So to learn more about it, you can find a detailed history of daylight saving time and the arguments against it at: Wikipedia: http://en.wikipedia.org/wiki/Daylight_saving_time and at: http://www.standardtime.com/proposal.html.

As for the blessing itself, you might notice a tiny rooster perched on the roof of the medieval-style house in my illustration. This refers to the blessing’s original title, ‘The Wisdom of the Rooster’. It is unique among the many we have for expressing appreciation for our physical, mental and environmental gifts. Why? Because instead of thanking our Creator for our own ability to distinguish between day and night, we offer praise for “giving the rooster understanding to distinguish between day and night.” Rabbi Michael Gourarie* explains:

“Although a rooster crows at the beginning of each day it actually happens some time before it gets light. When it senses that dawn will break soon, and light is on the way to substitute for the darkness, he emits the crowing noise that became the ancient alarm clock.

In every day there are periods of light – clarity, blessing, peace of mind and prosperity; but there are also sometimes patches of darkness – challenge, confusion and difficulty. It takes special strength not to be caught up in the moments of challenge. It takes maturity to look beyond the darkness and see the light that awaits us. A wise person learns from the rooster. He/she knows that the darkness is only temporary and that light is on the way. The rooster is symbolic of an attitude filled with optimism, hope and belief. The rooster teaches us to envisage and celebrate blessing even before it comes.”

In addition to the rooster, the other elements in my illustration are arranged around a sort of cosmic hourglass. Suspended within their separate spheres, our sun and moon are poised to reverse their positions in a dance designed at the time of Creation. I wanted to symbolize our understanding of these celestial bodies with regard to our environment and our lives (trees and houses) by placing them within a man-made timekeeping device. The sprinkle of stars that inspired the signs of the Zodiac on the hourglass are there to remind us that while our acquired knowledge is of great value, the light of that value darkens without the wonder and faith that guide it.

*http://shiratdevorah.blogspot.com/2011/08/wisdom-of- rooster.html