Tetzaveh: Avnei Zikaron, the stones of remembrance are all around us

The list of what the High Priest should wear when carrying out his duties is long and detailed. The Hoshen (a breastplate); The Ephod, a kind of tunic made with gold, blue, purple and scarlet, fine twisted linen threads. It would have two onyx stones, each engraved with six of the names of the tribes of Israel, and they would be embedded in a gold setting on the shoulders of the garment;  A gold frontlet to be worn on the forehead, with the inscription “Kodesh l’Adonai” (Holy to God); A fringed tunic, a headdress, a sash, and linen trousers. The Hoshen was fixed by chains to the shoulders of the ephod and carefully connected, the urim and tumim were placed within it, and twelve different precious stones arranged in four rows of three, one for each of the tribes of Israel.

The clothing was fringed, with pomegranates and golden bells around the hem of the robe so that it would make a sound when the High Priest walked in the sanctuary, and people would be able to hear him.

If all this sounds a little familiar, it is because we dress our scrolls in similar fashion. Tunics of rich materials, beautifully embroidered; crowns and bells – called rimonim, pomegranates, that tinkle when we carry it;  a breastplate – hoshen.

Several times we are told that the High Priest’s clothes are for honour and beauty – kavod v’tiferet. And we have taken from this the idea of adorning our synagogues and Sifrei torah for the same purpose – hiddur mitzvah – beautifying a mitzvah -being the principle behind the decoration of our ritual objects, about the three statutory meals on Shabbat, about creating an aesthetic in our lives that not only glorifies God but makes us more aware of the beauty of our world.

There is much of the language of the text that we don’t really understand:  – what exactly is an ephod? Why did the priest wear a gold engraved plate on his forehead? Why would having bells and pomegranates on the hem of his robe mean that he would not die? What really were the urim and the tumim? Where they objects of divination? How were they used and how does that fit into the ritual system being designed here?   There are so many opaque words and unanswerable questions in this text, but this year one particular expression caught my attention:

וְשַׂמְתָּ֞ אֶת־שְׁתֵּ֣י הָֽאֲבָנִ֗ים עַ֚ל כִּתְפֹ֣ת הָֽאֵפֹ֔ד אַבְנֵ֥י זִכָּרֹ֖ן לִבְנֵ֣י יִשְׂרָאֵ֑ל וְנָשָׂא֩ אַֽהֲרֹ֨ן אֶת־שְׁמוֹתָ֜ם לִפְנֵ֧י יְהוָֹ֛ה עַל־שְׁתֵּ֥י כְתֵפָ֖יו לְזִכָּרֹֽן:

You shall place the two stones on the shoulder-pieces of the ephod, remembrance-stones for the children of Israel. Aaron shall carry their names before God on his two shoulders as a remembrance.  Exodus 28:12

וְנָשָׂ֣א אַֽ֠הֲרֹ֠ן אֶת־שְׁמ֨וֹת בְּנֵֽי־יִשְׂרָאֵ֜ל בְּחֹ֧שֶׁן הַמִּשְׁפָּ֛ט עַל־לִבּ֖וֹ בְּבֹא֣וֹ אֶל־הַקֹּ֑דֶשׁ לְזִכָּרֹ֥ן לִפְנֵֽי־יְהוָֹ֖ה תָּמִֽיד:

And Aaron shall bear the names of the children of Israel in the breastplate of judgment upon his heart, when he goes in to the holy place, for a memorial before the Eternal continually. (28:29)

It was, at first, the two engraved stones on the shoulders of the ephod – “avnei zikaron” – “stones of remembrance” that I noticed – avnei zikaron.  I have recently returned from Lausanne, where with my brother and sister we dedicated a new stone on the grave of my grandfather, who had died there from damages he had originally acquired in Dachau. Having eventually got to a clinic in Switzerland, stateless and without access to any of his assets, he had died and been buried by the community there. My grandmother had arranged a stone to mark the grave, my father had had it repaired, but on a recent visit we saw that his grave was essentially unmarked – the composite the stone had been made from had not held the letters of his name.  Here, to all intents and purposes, lay the body of an unknown man.

We arranged a stone to go onto his grave, and while the stone on a grave is usually called in Hebrew a “matzevah”, from the standing stone marking the grave of the matriarch Rachel, this felt more like an even zikaron, a stone to provoke memory. We felt it was important to not only mark the grave and give our grandfather back his name, but to create something that would cause an onlooker to think about him and to learn something of his essence. So we added  his title – Landgerichstrat – County Court Judge. And we added the name of my grandmother buried in Lugano, of my father buried in Bradford, and the name of his aunt Helene who died in Theresienstadt.  We added the dates of their lives, their relationship to my grandfather and the places where they were born and died. And at the foot of the stone is the acronym found on so many Jewish graves – taf nun tzaddi beit hei – t’hi nishmato tzrurah bitzrur ha’hayim – may their souls be bound up on the threads of life.

Seventy years after his death, we, his descendants whom he never knew and could not even have imagined, found great meaning in creating for him an even zikaron – a memorial stone that not only gave him back his name, but in some way brought him back into the fabric of life. It gave him a measure of dignity; it recorded that here lay a man who loved and was loved, who had had learning and held a respected career, whose family had become scattered – and worse – because of forces we can still not really understand.

So much memory was encapsulated in the engraving.  Four names and their relationship to the man lying there.  A status in society; six towns in four different countries. We stood around that snowy grave under a winter sun and told family stories, traced the journey that had led this man whose family had been in the Lower Saxony area for hundreds of years, to a lonely grave far from those who had loved him. We remembered our father whose yahrzeit, like that of his father, fell that week and how, through him, we had come to know and root ourselves in a world that no longer really exists, yet continues in memory, in some artefacts, and in words.

I have consecrated many gravestones in cemeteries in several countries on different continents, as well as memorial plaques in libraries and synagogues – of family, friends and congregants. But I never understood as I understood then the power of a stone that records and remembers when all else seems to have passed into history, the power of avnei zikaron.

There is a strong idea in Judaism that a person is not forgotten as long as their name is remembered.  This is why the museum dedicated to the Shoah in Israel is called Yad v’Shem – a name taken from Isaiah (56:5) which reads “To them will I give in my house and within my walls a place and a name (Yad v’Shem) better than sons and of daughters: I will give them an everlasting name that shall not be cut off” –  and is designed to hold memory, to be a place which records and names all those who have no descendants to memorialise them, no one to speak their name and tell their story.    Talmud says that when we teach what we have learned from someone else, we do so b’shem omro-  in their name – and Talmud tells us the lips of deceased teachers move in the grave when we do so – they are continuing to teach and so still attached to life.  We name our children for dead relatives; we blot out the name of Amalek from under heaven – (quite literally in the case of torah scribes who test their pens by writing the name of Amalek on some parchment and crossing it out).  The book of Proverbs tells us that “the memory of the righteous is a blessing, but the name of the wicked rots away (shall be forgotten.)”  Again and again, remembering someone’s name is seen as synonymous with keeping them from the ultimate oblivion of death;

The stones on the breastplate of the High Priest that kept the twelve tribes of Israel before the gaze of God also had the effect of reminding the priest that his service to God was in the name of and on behalf of every single Israelite.  And the Midrash tells us that they were avnei zikaron not only in order that God would remember, but that the Priests would remember.

The Stolpersteine project is another way to keep alive those whose memory was almost entirely obliterated. The artist Gunter Demnig began a project in 1992 to remember the victims of National Socialism, by installing commemorative brass plaques in the pavements of their last address of choice. The ordinary cobblestones on the pavements outside their homes are replaced, putting in their place stones with a plaque that bears a simple inscription – the name, date of birth and the date and place of death, if known of each individual. One stone per person. The stones are positioned outside the houses of Jews, Roma, Sinti and others who were murdered by the Nazi regime.  Stolpersteine, stumbling stones, can be found in Germany, Austria, France, Hungary the Netherlands, Belgium the Czech republic, Norway, Italy, the Ukraine, Greece, Sweden, Denmark, Finland  and more recently Spain….  What began as a mainly artistic endeavour has turned into a powerful aid for people to create memory, to bring back to life in some way those who disappeared, murdered, their bodies unburied and desecrated. It is a measure of the power of this project that to get one installed will take well over a year, so long is the waiting list of those who wish to commemorate family.

The original meaning of the word stolpersteine used to be “an obstacle”, something that prevented you getting to your goal; but that has changed, the focus is drawn to the immediate now rather than on the horizon. They are designed to provoke thought, to make us see the world around us a little differently for a moment, as the people who once walked those streets until taken away and murdered, come to focus and live for us for a short while. So now one stumbles over the stone in the pavement and stops, reads, thinks of the individuals and the families who lived in the house or apartment adjacent. Tragically they are also the focus of those who do not want to be reminded, do not want to accept any role in remembering. We  know that in December last year twenty of them, which commemorated members of two Italian Jewish families – the Di Consiglio family and the Di Castro family – were hacked out and stolen in Rome, others have been defaced or vandalised.

We are told that the High Priest Aaron wore bells on his clothing so that he didn’t die. It is not really clear how death was prevented, but what is clear is that the people could hear him moving around in that sacred space.  People being aware of him somehow kept him from death.  It is our memories and the stories we tell of those we love that keep them living in some very real way. Their bodies may die but the memory lives on strongly. And the best way we can keep their memory in public attention is to inscribe it on a stone – their names, relevant dates, reminders of the person they were, reminders that they had lived a life, had been bound up in the threads of a fabric in which we too are bound up.

The Avnei Zikaron in the clothing of the High Priest were there primarily to remind both God and human beings of the importance of our history together, of the relationship to each other that has given meaning to both parties.   Stones of memory mean that as long as we will not forget each other we won’t completely die, and that when we die we will not be completely forgotten. And that matters.

The acronym “taf nun tzaddi beit hei” is found on Jewish graves the world over, and refers to the idea that the life being recorded here is not completely ended, but its threads are connected to the continuing future – be it through descendants or stories, be it through the impact the person had on others, their teachings, their behaviour, their actions. After we had recited the psalms, sung the El Malei Rachamim, spoken the words of Kaddish Yatom the mourners kaddish, after we had shared memories and stories of a man we never knew except through his impact on our father, and stories and memories of our father, our grandmother, and the elderly woman murdered in Theresienstadt after 80 years of life in a quiet village tending the family synagogue and the family shop, we bent down and placed on my grandfather’s grave some small stones, one for each of us, one for our parents, and one for each of our children. And then one for the soon to be born baby of the next generation of our family.  Stones put down on sacred space as avnei zikaron, for life goes on.

sermon at lev chadash February 2019

 

“You Shall not make A Graven Image” – or how hard it is to be a Jewish Artist

The Bible says “you shall not make a graven image”

While there are many Jewish writers and scientists, Jewish artists are thin on the ground as it is generally understood that Judaism has a taboo against creating images from the natural world.  This taboo stems from biblical texts – most notably the second of the Ten Commandments – which reads “Do not have any other gods before my presence. Do not make yourself a carved-image (pesel) or any figure that is in the heavens above, that is on the earth beneath, that is in the waters beneath the Earth;  Don’t bow down to them or serve them…” similar rulings are  found in later books.

The context is always that such images are connected to worship, and that making or having them will lead away from the invisible and incorporeal God of Israel. Unlike the pagan traditions surrounding them, the Israelite God was never seen, at most God was shrouded in cloud or fire, and could be anywhere at any time, unlimited and unconstrained.

It is likely that the original law forbidding images was to prevent the Israelites from assimilating with the different peoples they met in the wilderness.  Certainly the prophets saw them as a path to assimilation into the surrounding cultures.

One of my favourite psalms (115) describes these idols as having mouths that cannot speak, eyes that cannot see etc, and that everyone who makes them or trusts them will become like them, worthless and impotent, unlike Israel whose trust in God will support them.

But the prohibition against such images for worship is honoured rather less than one might think. There were cherubim in the desert tent and in Solomon’s Temple as well as early synagogues, and we routinely have lions or flowers decorating Sifrei Torah. Was the ban to prevent syncretism polluting the Israelite God or was it to prevent assimilation? Was it to demonstrate the beauty of holiness rather than the Hellenic holiness of beauty? or was it to prevent people gaining power over God by knowing God’s image or name?

Torah permits representations of humans as long as they are not used for idolatry and we no longer fear alternate ‘gods’. Possibly the most powerful challenge is that we are made b’tzelem Elohim – in the image of God. So maybe it is time for more Jewish artists to emerge and follow the tradition of Betzalel, the artistic director of the desert tabernacle, and decorate our world fearlessly

written for and published in Progressive Judaism Page of  London Jewish News

Parashat Tetzaveh: Do clothes really make us who we are?

In this sidra, Moses is told toBring near to you Aaron your brother, and his sons with him, from among the children of Israel, that they may minister to Me in the priest’s office, Aaron, Nadav and Avihu, Eleazer and Itamar, Aaron’s sons.  And you shall make holy garments for Aaron your brother, for splendour and for beauty.  And you shall speak to all that are wise-hearted, whom I have filled with the spirit of wisdom, that they make Aaron’s garments to sanctify him, that he may minister to Me in the priest’s office.  And these are the garments which they shall make: a breastplate, and an ephod, and a robe, and a tunic of chequer work, a mitre, and a girdle; and they shall make holy garments for Aaron your brother, and his sons, that he may minister to Me in the priest’s office.”(Exodus 28:2ff)

What is the connection between the sacred garments and the work of the priest? Why should the sacred garments be for splendour and beauty? And why should they be made by people who are especially wise?

Rav Kook reminds us that clothing has more than a utilitarian function, to protect us from the weather and to encase our fragile skin in more hardy materials. While animals have fur and feathers for such purposes, we humans are different, we are more vulnerable and have to create an outer layer for defence.  But that is not our only difference – in creating clothes we can also affect how we feel about ourselves and others, clothes can influence our attitudes and our feelings, alter our state of mind, signal something important to ourselves and to others. Essentially clothes can be powerful drivers of our sense of self. It may be simple such as the wearing of a uniform or professional outfit which gives us confidence and standing, it may be bridal wear or mourning outfits signifying change of status or emotional state. Rav Kook sees this function of clothing as having great theological and  ethical value. “It stresses those qualities that separate us from the animals and their simple physical needs. It enables us to attain a heightened sense of holiness and dignity. By covering our heads, wearing modest dress, and fulfilling the mitzvot of tefillin and tzitzit, we deepen our awareness of God’s presence.” (Ein Eyah vol. II, p. 354)

When God sends Adam and Eve out from the Garden of Eden to the exposed world outside, the first thing God did was to make them clothes – garments made of skin to replace the ones they had made themselves of fig leaves to cover their newly realised nakedness (gen 3). It is an act of protection and of love, and similarly to when God marks Cain in order to safeguard him as he wanders the world, it is also a reminder of an awareness of God, that we are more than we appear to be, that we have a spiritual hinterland,  a layer of security beyond the material.

Jewish tradition speaks of Hiddur Mitzvah – a concept derived from the verse in Exodus at the Song of the Sea  (15:2) “This is my God and I will glorify him”. The Midrash tells us that since it is not really possible to add glory to God, this must really mean that we glorify God by the way we perform the mitzvot – and from this develops the art of beautiful ritual artefacts – sifrei torah covers, tallitot, Shabbat candlesticks, Seder plates etc.  So clearly the notion of Aaron and his sons wearing splendid and beautiful clothes for the priestly function could be seen as part of this idea. And yet, it seems to me that more is being spoken of in the special clothes for priestly work.  Aaron’s clothing sanctifies him. It is not just the wearing of respectfully clean and tidy clothing that is happening here, the clothes literally change the person in some way.

The Talmud makes this idea of clothing changing our perceptions even more explicit “. Said R. Abbahu in R. Johanan’s name, and some derive ultimately [the teaching] from R. Eleazar the son of R.Simeon:  “Because Scripture says “And you shall gird them with girdles, Aaron and his sons, and bind head-tires on them; and they shall have the priesthood by a perpetual statute: When wearing their [appointed] garments, they are invested with their priesthood; when not wearing their garments, they are not invested with their priesthood. (Zevachim 17b).

So the Talmudic rabbis understood that the garments invest them with the priesthood – and removing their priestly clothing will separate them from the priesthood – it is a startling assertion if true, but I think something else is really meant here.  The priestly garments did not make the priesthood, nor did they remove it but they helped Aaron and the priests to feel like they were priests, they integrated the internal reality with the external appearance, and for something so important as ministering before God this was of critical importance.

I once heard of a condition called “Bishop’s syndrome” – I have no idea if it is really there in the medical textbooks, but essentially it describes the sense of disbelief when someone climbs high in the clerical hierarchy and fears that somehow they are not deserving of this status or title. It is characterised by the anxious thought that “one day they will find out I am not a proper bishop”. I guess it could be called “head teacher’s syndrome” or you could insert any role which requires competence and responsibility.   To wear the ‘uniform’ can help ‘create’ the persona, both for the person wearing it and for the person who sees it, and we see this most powerfully today in the medical white coat, or the hi-vis jackets.

I experience this phenomenon when I wrap myself in tallit. Not only am I delineating time for prayer and focus on meaning, I am delineating space around myself, and signalling to myself and to others that I am becoming my more prayerful self.  The fact that I am wearing the uniform of the mitzvot, that I am enwrapped and made rapt in the warmth of prayer, allowing myself to immerse in the sea of prayer and conversation with God helps me in both the preparation and the act.  The beauty of my tallit, the knowledge that it was made with love and mindfulness, all help to make this a special time.  

I also experience this phenomenon when sitting in shul and seeing all the people around me wearing tallit, people who walk in to the room as ordinary Jews somehow become the people of Israel, flocking together, shawls draped over shoulders, creating a sea of prayer – and the opposite occurs when they take off their tallitot and return to the world of the ordinary.

Aaron and his sons are to wear special garments in order to minister before God. The clothes help them cross the boundary from the ordinary to the extraordinary. They help the people to see them not as frail human beings but as priests of God. The fact that the clothes are beautiful, that they are made with mindfulness all help to foster the sense of transformation.

We see clothes today as signifiers often of role or of status – but rarely do we think of them as the agents of change. And rarely do we recognise the power of clothing to direct our thinking, so when we are impressed by someone in expensive or designer wear we may forget that the person inside is not the clothing. The person inside is special, is a child of God, is unique and has gifts and talents, feelings and thoughts –the clothing is an outer layer designed for protection and action. The body is the clothing of the soul – and our tradition reminds us that when the clothing of our material self wears out and is respectfully disposed of, the soul will continue with God.