Jonathan Sacks: God’s Shadow VAYAKHEL
In Vayakhel we meet, for the second time, the man who became the symbol of the artist in Judaism, a man by the name of Betzalel.
Then Moses said to the Israelites, “Know that the Lord has chosen Betzalel son of Uri, the son of Hur, of the tribe of Judah, and has filled him with a Divine spirit of wisdom, understanding, and knowledge in every craft, to make artistic designs for work in gold, silver, and bronze, as well as cutting stones for setting, carving wood, engaging in every other craft. He has also given him the ability to teach others, together with Oholiav, son of Achisamach of the tribe of Dan. He has filled them with the skill to do all kinds of work as engravers, designers, embroiderers in sky-blue, purple, or scarlet wool or fine linen, and as weavers. They will be able to carry out all the necessary work and design.
Ex. 35:30-35
It would be Betzalel (together with Ohaliab) who would make the Tabernacle and its furnishings and be celebrated through the centuries as the inspired craftsman who used his skills for the greater glory of God.
The aesthetic dimension of Judaism has tended to be downplayed, at least until the modern era, for obvious reasons. The Israelites worshipped the invisible God who transcended the universe. Other than the human person, God has no image. Even when He revealed Himself to the people at Sinai:
“You heard the sound of words but saw no image; there was only a Voice.”
Deut. 4:12
Given the intense connection – until around the eighteenth century – between art and religion, image-making was seen as potentially idolatrous. Hence the second of the Ten Commandments:
“Do not make for yourself any carved image or likeness of in the form of any creature in heaven above or the earth beneath or in the waters below.”
Ex. 20:4
This concern continued long after the biblical era. The Greeks, who achieved unrivalled excellence in the visual arts, were, in the religious sphere, still a pagan people of myth and mystery, while the Romans had a disturbing tendency to turn Caesars into gods and erect statues to them.
However, the visual dimension was not wholly missing from Judaism. There are visible symbols, like tzitzit and tefillin. There is, according to the Sages, a meta-mitzvah known as hiddur mitzvah – “beautifying the command” – to try to ensure that all objects used in the performance of a command are as beautiful as possible.
The most significant intrusion of the aesthetic dimension was the in Tabernacle itself, its framework and hangings, its furniture, the cherubim above the ark, the menorah, and the vestments of the priests and the High Priest, lekavod uletifaret, “for dignity and beauty” (Ex. 28:2).
Maimonides in The Guide for the Perplexed (III:45) says that most people are influenced by aesthetic considerations, which is why the Sanctuary was designed to inspire admiration and awe; why a continual light burned there; why the priestly robes were so impressive; why there was music in the form of the Levitical choir; and why incense was burned to cover the smell of the sacrifices.
Maimonides himself, in the work known as The Eight Chapters – the introduction to his commentary on Mishnah Avot – speaks about the therapeutic power of beauty and its importance in counteracting depression:
Someone afflicted with melancholy may dispel it by listening to music and various kinds of song, by strolling in gardens, by experiencing beautiful buildings, by associating with beautiful pictures, and similar sorts of things that broaden the soul…
The Eight Chapters, chapter 5
Art, in short, is balm to the soul. In modern times, the thinker who spoke most eloquently about aesthetics was Rav Kook. In his Commentary to the Siddur, he wrote:
“Literature, painting, and sculpture give material expression to all the spiritual concepts implanted in the depths of the human soul, and as long as even one single line hidden in the depth of the soul has not been given outward expression, it is the task of art [avodat ha-umanut] to bring it out.”
Olat Re-ayah, II, 3
Evidently these remarks were considered controversial, so in later editions of the Commentary the phrase “Literature, painting, and sculpture” was removed and in its place was written, “Literature, its design and tapestry.”
The name Betzalel was adopted by the artist Boris Schatz for the School of Arts and Crafts he founded in Israel in 1906, and Rav Kook wrote a touching letter in support of its creation. He saw the renaissance of art in the Holy Land as a symbol of the regeneration of the Jewish People in its own land, landscape and birthplace. Judaism in the Diaspora, removed from a natural connection with its own historic environment, was inevitably cerebral and spiritual, “alienated.” Only in Israel would an authentic Jewish aesthetic emerge, strengthened by and in turn strengthening Jewish spirituality.
Perhaps the most moving of all remarks Rav Kook made about art came in the course of a conversation he had with a Jewish sculptor:
“When I lived in London I used to visit the National Gallery, and my favourite pictures were those of Rembrandt. I really think that Rembrandt was a tzaddik. Do you know that when I first saw Rembrandt’s works, they reminded me of the rabbinic statement about the creation of light?
We are told that when God created light [on the first day of Creation, as opposed to the natural light of the sun on the fourth day], it was so strong and pellucid that one could see from one end of the world to the other, but God was afraid that the wicked might abuse it. What did He do? He reserved that light for the righteous in the World to Come. But now and then there are great men who are blessed and privileged to see it. I think that Rembrandt was one of them, and the light in his pictures is the very light that God created on Genesis day.”[1]
I have often wondered what it was about Rembrandt’s paintings that so enthralled the Rav. Rembrandt lived in the Jewish quarter of Amsterdam, knew Jews and painted them, as well as painting many biblical scenes, though the closeness or otherwise of his connection with Jews has been the subject of controversy. Rav Kook’s admiration for the artist had, I suspect, nothing to do with this and everything to do with the light Rembrandt saw in the faces of ordinary people, without any attempt to beautify them. His work let us see the transcendental quality of the human, the only thing in the universe on which God set His image.
Art in Hebrew – omanut – has a semantic connection with emunah, “faith” or “faithfulness.” A true artist is faithful both to his materials and to the task, teaching us:
To see a world in a grain of sand,
And a heaven in a wild flower,
Hold infinity in the palm of your hand,
And eternity in an hour.[2]
The name Betzalel means, “in the shadow of God.” Art is the shadow cast by the radiance of God that suffuses all things:
The world is charged with the grandeur of God.
It will flame out, like shining from shook foil.[3]
And as Goethe said: “Where there is much light, the shadow is deep.”[4] When art lets us see the wonder of creation as God’s work and the human person as God’s image, it becomes a powerful part of the religious life, with one proviso. The Greeks believed in the holiness of beauty. Jews believe in hadrat kodesh, the beauty of holiness: not art for art’s sake but art as a disclosure of the ultimate artistry of the Creator. That is how omanut enhances emunah, how art adds wonder to faith.
[1] Rav Avraham Kook, article in The Jewish Chronicle; London; 13 September 1935, p. 21.
[2] From Auguries of Innocence by William Blake.
[3] From God’s Grandeur by Gerard Manley Hopkins.
[4] Johann Wolfgang von Goethe, Götz von Berlichingen with the Iron Hand, translated by Walter Scott, London; 1799.
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