Naso -- Numbers 4:21 – 7:89

Facebook_CoverDesign_Nasso2The American author Joan Didion (b. 1934) once remarked:

"Not much about California, on its own preferred terms, has encouraged its children to see themselves as connected to one another."

While this perception of disconnection between California children may still hold, the Children of Israel attempt to retain connection between one another without sacrificing the need to do so on their own terms, in their own particular manner. Offerings are made to inaugurate the altar by each of the twelve tribes. While these offerings appear to be identical, each day is described on its own terms.

The offerings that each of us make to bolster community are always unique, from planning and organizing [avodat ha’masah] that enables entry into moments of deeper self-reflection [avodat ha’avodah]. This week's parsha actually begins at the moment of completion of the grand census taking in the Sinai desert (detailed in last week’s reading). Parashat Naso tallies those who will be doing the planning and organizing [avodat ha’masah] of transporting the Tabernacle. Various laws are also revealed including the ritual of the wayward wife, known as sotah, as well as the spiritual practice of the nazir.

- Rabbi Aubrey Glazer

Artwork note: This week's artwork presents an "earthen vessel" (Numbers 5:17) filled with "the bitter curse bearing waters" (Numbers 5:18) of the sotah ritual. The (presumed) wayward wife is forced to drink this potion to determine her (in)fidelity. The ritual's cartoonishly magical thinking (by today's standards) and grave consequences call to mind medieval witch trials; in a nod to the hocus-pocus, the bowl is seen here levitating, its shadow rippling like the surface of the potion. Illustration by Christopher Orev Reiger.

Kezayit: Micrography

What's this Kezayit thing? Read here.

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Waugh_FullBrooklyn-based artist Michael Waugh is best known for producing large-scale, ink-on-mylar drawings, but with a twist. From the artist's website:

"For the past few years, my drawings have utilized an ancient Hebrew form of calligraphy called micrography, in which minute words are written out so that when you stand far away, you see an image. Those ancient drawings typically employed a sacred text; the purpose of the drawings was either devotional or magical. The texts used in my drawings are neither sacred nor magical, and it is doubtful that they deserve any form of devotion. The text used in these drawings comes from government reports commissioned or headed by US presidents (i.e. presidential commission reports)."

Waugh_Detail2The image you see above is Waugh's The Grace Commission, part n, a 2007 work measuring 36 x 78 inches. Just to the left, we've included a detail of the work, which shows the handwritten script that forms the greyhound's head and the background landscape. As the title of the work suggests, this image was created using the federal report about President Ronald Reagan's Grace Commission, a 1982 investigation into governmental "waste and inefficiency."

Whereas Waugh uses micrography for conceptual reasons -- the imagery in his drawings is a comment on the texts he uses -- its invention was precipitated by a very different need. The second commandment, read strictly, prohibits religious Jews from creating artwork that may be deemed idolatrous and blasphemous. Although Jewish tradition has proven generally amenable to visual art, micrography ensured that Jewish artists wouldn't need to worry -- the potentially dangerous image was rendered harmless because it was formed by written sacred text that formed it.

Micrography arose as an art form sometime in 10th century Egypt and Eretz Israel. Although most scholars attribute its invention to Jews, it was heavily influenced by the surrounding Islamic culture and calligrams. From the catalog essay for Micrography: The Hebrew Word as Art, an exhibit at the Library of the Jewish Theological Seminary:

"Hebrew micrography was the creation of the Masorah scribes of Tiberias in the production of Bible codices (the book form of the Tanach that included marginal notes of the masorah and nikudot). The Leningrad Codice from 1009 written in Cairo, has sixteen diverse carpet pages presenting the small but fully legible masorah text in architectural and abstract designs surrounded by beautiful gold and red illuminations reminiscent of Middle Eastern carpets. This art form spread throughout the Levant, with Yemen as an especially important center, and then to north into medieval Europe. The Sephardic scribes of Spain utilized micrography, especially in some of the Catalonian Haggadot. The Ashkenazi scribes, with their micrographic specialty of medieval grotesques and bestiaries decorating the margins and front pages of luxury Bibles, and Haggadot also flourished from the thirteenth to the fifteenth centuries. After the invention of printing in the mid-fifteenth century, the use of micrography expanded to ketubbot, omer counters, amulets, and other independent works on paper, eventually to its use in portraits and secular Jewish illustrations. Throughout the centuries it has remained a predominately Jewish art form."