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.

Vayeira— Genesis 18:12–2:24

facebook_coverdesign_vayeiraHow many trials must we overcome in life?

Abraham is said to have overcome ten trials. Notice the way language links them: "Go...to the land I shall show" (Genesis 12:1) to "Sacrifice your son on one of the mountains I shall show you" (Genesis 22:2). Clearly then, Lech Lecha last week is linked with Vayeira this week, picking up just three days after Abraham’s circumcision, when his steadfast conviction affords him the ability to see the divine that is revealed in the mundane – a "showing."

At this moment of divine self-revelation (known as a theophany), Abraham encounters three men, wayfarers approaching his tent — because of his special insight, he recognizes them as angels. Amidst the radical hospitality extended to these guests, one of the three announces that Sarah will give birth to a son in exactly one year, to which she can only laugh.

Later in the narrative, as the remaining two angels arrive in the doomed city of Sodom, Abraham pleads with God to spare the city. Finally and most famously, Abraham’s faith is tested when he is commanded to sacrifice his son on Mount Moriah (the Temple Mount in Jerusalem), where Isaac is bound upon the altar. As Abraham raises his knife to slaughter his son, a heavenly voice intercedes. And so Isaac is unbound only because a ram, caught in the thicket by its horns, is rebound and offered in Isaac’s stead.

This story, the Akeida, is a story of binding and unbinding. In a sense, it is the story of all religion — religio means "binding." In obeying the divine command, Abraham takes on religion, binding himself and his son to Judaism; but the moment of unbinding Isaac is the truly religious moment, as each of us in our lives is free to choose anything, and thus we search for the divine beyond convention or expectation. In the unbinding, Isaac becomes a real person.

Our trials of life challenge each of us to live and participate fully in this world, to reach out with deeper empathy and compassion for and to others.

- Rabbi Aubrey Glazer

Artwork note: This week's artwork is an abstract meditation on the morality of punishment. Why nine blue squares in a field of black squares? The illustration references Abraham's dramatic interrogation of G-d's plan to kill all the inhabitants of Sodom for the population's sinful behavior. This famous debate results in G-d pledging to spare the city if just ten righteous men live there. Apparently, Sodom lacked even that small number, and G-d rained fire and brimstone upon the city, killing everyone. Although the story is usually celebrated as a foundational episode – we should, like our patriarch, Abraham, be in dialogue with G-d – it also raises challenging questions about group punishment and culpability. Illustration by Christopher Orev Reiger.