Ki Tissa -- Exodus 30:11 – 34:35

Construction of the Tabernacle is left to the wise-hearted artisans, Bezalel and Aholiav, and proceeds according to schedule, but Moses does not return from atop Mount Sinai exactly when expected (32:1). This leads the impatient Israelites to sculpt a molten calf of gold and worship it (32:6).

When he finally returns, Moses sees his people dancing around this idol and becomes enraged; he smashes the first set of tablets, destroys the molten calf, and executes the culprits behind this moment of grave idolatry. Then, in a moment of great empathic compassion, Moses turns to God and says: “If You do not forgive them, then blot me out of the book that You have written!” (32:32) Perhaps this eruption of empathic compassion is what allows Moses to formulate a second set of tablets upon his next ascent to Sinai?

When Moses is able to be truly present to the others in his community, no matter how errant, he is then granted a vision of the divine, through the thirteen attributes of mercy. After Auschwitz, the great French Jewish thinker Emmanuel Levinas (1906-1995) took this remarkable moment of Moses’ request for a complete encounter with the divine “face” (33:20) only to be granted a view of “the other side” (33:23) to teach us that every human encounter with "the other" presents us with a trace of the divine.

- Rabbi Aubrey Glazer

Artwork note: This week's illustration depicts the golden calf, Torah's most prominent symbol of idolatry. Here, the calf's head references Charging Bull, the famous bronze sculpture that's sparked countless photo ops in downtown Manhattan since it was installed in 1987. The choice isn't intended as an attack on capitalism (which, when thoughtfully regulated, is the most workable system we’ve come up with), but perhaps our modern championing of relentless economic growth is a species of misbegotten idol? In the background are golden earrings featuring the Egyptian Eye of Horus, a reference to the story's collection of Israelite earrings to create the calf; surely, their earrings' iconography and style would have been Egyptian following such a long period of assimilation. Illustration by Christopher Orev Reiger.

Ki Tissa -- Exodus 30:11 – 34:35

Facebook_CoverDesign_KiTissa"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 line hidden in the depth of the soul has not been expressed outwardly, then it remains the task of art [avodat ha’umanut] to bring it out" (Rav Kook, Olat Re’ayah, II, 3).

Such outward expression of an inner aesthetic of the devotional heart is found in this week’s description of the design of the Tabernacle – why else would these artisans, Bezalel and Aholiav, be referred to as wise-hearted?

How then does Moses relate to the innovations of Bezalel’s design? Acting as the communal leader, Moses seems to have missed the deadline, and does not return from atop Mount Sinai exactly when expected (32:1). This leads the impatient Israelites to sculpt a molten calf of gold and worship it (32:6). When he finally returns, Moses sees his people dancing around this idol and becomes enraged; he smashes the first set of tablets, destroys the molten calf, and executes the culprits behind this moment of grave idolatry. Then, in a moment of great empathic compassion, Moses turns to God and says: “If You do not forgive them, then blot me out of the book that You have written!” (32:32) Perhaps this eruption of empathic compassion is what allows Moses to formulate a second set of tablets upon his next ascent to Sinai.

When Moses is able to be truly present to the others in his community, no matter how errant, he is then granted a vision of the divine, through the thirteen attributes of mercy. Perhaps this manifestation of compassion is "the task of art [avodat ha’umanut]" that Rav Kook writes of.

- Rabbi Aubrey Glazer

Artwork note: This week's artwork depicts the artisan Bezalel. "See, I have called by name Bezalel the son of Uri, the son of Hur, of the tribe of Judah, and I have imbued him with the spirit of God, with wisdom, with insight, with knowledge, and with [talent for] all manner of craftsmanship…" (Exodus 31:2–3) Bezalel finds himself "enthused" – literally, "possessed by [or inspired by] a god," and he crafts the Mishkan while riding a wave of sustained creative energy and focus. Illustration by Christopher Orev Reiger.

Ki Tissa -- Exodus 30:11-34:35

CoverDesign_KiTissaIn Ki Tissa, design of the Tabernacle is assigned to the wise-hearted artisans, Bezalel and Aholiav. We hear the echo of their influence in Israel even today.

For example, the Bezalel School of Arts and Crafts, established in 1906 by artist Boris Schatz, has evolved into one of the world's most prestigious art schools. We learn this week why the name Bezalel is synonymous with more than a century of Israeli art, innovation, and academic excellence. Bezalel’s namesake shines -- the school is responsible for producing numerous artistic breakthroughs and has demonstrated a remarkable ability to respond and adapt to cultural changes. If its numerous generations of graduates – the vanguard of Israeli artists, designers, and architects, both in Israel and around the globe – is any indication, then Bezalel remains as strong an influence as ever in Israeli society.

But how does Moses relate to the innovations of Bezalel’s design? Acting as the communal leader, Moses seems to have missed the deadline, and does not return from atop Mount Sinai exactly when expected (32:1). This leads the Israelites to sculpt a molten calf of gold and worship it (32:6). When he finally returns, Moses sees his people dancing around this idol and smashes the first set of tablets, destroys the molten calf, and executes the culprits behind this moment of grave idolatry. Then, in a moment of great empathic compassion, Moses turns to God and says: “If You do not forgive them, then blot me out of the book that You have written!” (32:32)

Perhaps this eruption of empathic compassion is what allows Moses to formulate a second set of tablets upon his next ascent to Sinai. When Moses is able to be truly present to the others in his community, no matter how errant, he is then granted a vision of the divine, through the thirteen attributes of mercy.

After Auschwitz, the great French Jewish thinker Emmanuel Levinas (1906-1995) took this remarkable moment of Moses’ request for a complete encounter with the divine “face” (33:20) only to be granted a view of “the other side” (33:23) to teach us that every human encounter with "the other" presents us with a trace of the divine.

- Rabbi Aubrey Glazer

Image credit: Another in our series of original illustrations inspired by mid-20th century graphic design. Although the artwork specifically depicts the Israelites' worship of the golden calf in this week's parsha, it is more generally inspired by the relationship between fear, ecstasy, resignation, and faith (of a certain kind) -- think Søren Kierkegaard's Fear and Trembling or, if you prefer the philosophy of another brilliant anti-Semite, think of Arthur Schopenhauer's notion of the sublime providing supreme liberation through self-negation. Illustration by Christopher Orev Reiger.