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Merkabah () or Merkavah mysticism (2025). 9781119643074, John Wiley & Sons, Inc.. ISBN 9781119643074 (lit. Chariot mysticism) is a school of early Jewish mysticism (), centered on visions such as those found in Ezekiel 1 or in the hekhalot literature ("palaces" literature), concerning stories of ascents to the heavenly palaces and the Throne of God.
The main corpus of the Merkabah literature was composed in the period 200–700 CE, although later references to the Chariot tradition can also be found in the literature of the Hasidim of Ashkenaz in the Middle Ages. A major text in this tradition is the Maaseh Merkabah ().Jacob Neusner (2005). Neusner on Judaism: Literature, p. 74: "When Eleazar finished the Works of the Chariot, Yohanan stood and kissed him on his head and said, Blessed is the Lord, God of Abraham. Jacob who gave to Abraham a son wise and knowing how to expound the glory of our father in heaven."
However, when left untranslated, in English the Hebrew term merkavah relates to the throne-chariot of God in prophetic visions. It is most closely associated with the vision in Ezekiel 1 of the four-wheeled vehicle driven by four hayyot "living creatures" with four wings; the angels have the faces of a man, lion, ox, and a large predatory bird. The last animal, the נֶשֶׁר nešer, is often translated "eagle", but is the Eurasian griffon vulture.
The Bible later makes mention of a third type of angel found in the merkabah called "" (lit. "burning") angels. These angels appear like flashes of fire continuously ascending and descending. These seraphim angels power the movement of the chariot. In the hierarchy of these angels, hayyoth are the highest, that is, closest to God, followed by the ophanim, which are followed by the seraphim. The chariot is in a constant state of motion, and the energy behind this movement runs according to this hierarchy. The movement of the ophanim is controlled by the "Living creatures", or Hayyot, while the movement of the hayyot is controlled by the seraphim. The movement of all the angels of the chariot is controlled by the "Likeness of a Man" on the Throne.
One mention of the Merkabah in the Talmud notes the importance of the passage: "A great issue—the account of the Merkavah; a small issue—the discussions of Abaye and Rava famous."See Idel, Moshe, , citing Babylonian Talmud, Sukkah 28a. The Chazal Yohanan ben Zakkai (d. c. 80 CE) and Rabbi Akiva (d. 135) were deeply involved in merkabah exegesis. Rabbi Akiva and his contemporary Ishmael ben Elisha are often the protagonists of later Merkabah ascent literature.
For example, the secret doctrines might not be publicly discussed: "Seek not out the things that are too hard for thee, neither search the things that are above thy strength. But what is commanded thee, think thereupon with reverence; for it is not needful for thee to see with thine eyes the things that are in secret" in Sirach (iii. 21–22). It must be studied only by exemplary scholars: "The Maaseh Bereishit must not be explained before two, nor Ma'aseh Merkabah before one, unless he be wise and understands it by himself," Hagigah ii. 1. Further commentary notes that the chapter-headings of Ma'aseh Merkabah may be taught, as was done by Hiyya bar Abba. According to the Jerusalem Talmud, Hagigah ii. 1, the teacher read the headings of the chapters, after which, subject to the approval of the teacher, the pupil read to the end of the chapter. However, Rabbi Zera said that even the chapter-headings might be communicated only to a person who was head of a school and was cautious in temperament.
According to Rabbi Ammi, the secret doctrine might be entrusted only to one who possessed the five qualities enumerated in (being experienced in any of five different professions requiring good judgement), and a certain age is, of course, necessary. When Yohanan ben Zakkai wished to initiate Eleazar ben Azariah in the Ma'aseh Merkabah, the latter answered, "I am not yet old enough." A boy who recognized the meaning of חשמל () was consumed by fire ( Hagigah 13b), and the perils connected with the unauthorized discussion of these subjects are often described ( Hagigah ii. 1; Shab. 80b).
Jewish Encyclopedia bibliography:
A few of the Dead Sea Scrolls indicate that the Qumran community also engaged in Merkabah exegesis. Recently uncovered mystical texts also evidence a deep affinity with merkabah homilies.
The Merkabah homilies eventually consisted of detailed descriptions of multiple-layered heavens, often seven heavens, often guarded by angels and encircled by flames and lightning. The highest heaven contains seven hekhalot "palaces", and in the innermost palace resides a supreme divine image seated on a throne, surrounded by terrifying hosts singing God's praise.
When these images were combined with an actual mystical experiential motif of individual ascent (paradoxically called "descent" in most texts, Yordei Merkabah, "descenders of the chariot", perhaps describing inward contemplation) and union is not precisely known.
Several movements in Jewish mysticism and, later, students of the Kabbalah have focused on these passages from Ezekiel, seeking underlying meaning and the secrets of Creation in what they argued was the language of the verses.
Due to the concern of some that misunderstanding these passages as literal descriptions of God's image might lead to blasphemy or idolatry, there was great opposition to studying this topic without the proper initiation. Jewish biblical commentaries emphasize that the imagery of the merkabah is not meant to be taken literally; rather the chariot and its accompanying angels are analogies for the various ways that God reveals himself in this world.Maimonides, in his "Thirteen Principles of Faith", emphasizes that God is not limited to any particular form, as this prophecy might seem to imply. Hasidic philosophy and kabbalah discuss at length what each aspect of this vision represents in this world, and how the vision does not imply that God is made up of these forms.
Jews customarily read the Biblical passages concerning the merkabah in the synagogue every year on the holiday of Shavuot, and the merkabah is also referenced in several places in traditional Jewish liturgy.
In their visions, these mystics would enter into the celestial realms and journey through the seven stages of mystical ascent: the Seven Heavens and seven . Such a journey is fraught with great danger, and the adept must not only have made elaborate purification preparation, but must also know the proper , seals and angelic names needed to get past the fierce angelic guards, as well as know how to navigate the various forces at work inside and outside the palaces.
This heavenly ascent is accomplished by the recital of , as well as the theurgic use of secret names of God which abound in the Hekhalot literature. The Hekalot Zutarti in particular is concerned with the secret names of God and their powers:
At times, heavenly interlocutors will reveal divine secrets. In some texts, the mystic's interest extends to the heavenly music and liturgy, usually connected with the angelic adorations mentioned in Isaiah 6:3. The mantra-like repetitive nature of the liturgies recorded in many of these compositions seems meant to encourage further ascent. The ultimate goal of the ascent varies from text to text. In some cases, it seems to be a visionary glimpse of God, to "Behold the King in His Beauty". Others hint at "enthronement", that the adept be accepted among the angelic retinue of God and be given an honored seat. One text actually envisions the successful pilgrim getting to sit in God's "lap". Scholars such as Peter Schaefer and Elliot Wolfson see an erotic theology implied in this kind of image, though it must be said sexual motifs, while present in highly attenuated forms, are few and far between if one surveys the full scope of the literature.
Literary works related to the Hekhalot tradition that have survived in whole or in part include Hekhalot Rabbati (or Pirkei Hekhalot), Hekhalot Zutarti, 3 Enoch (also known as "Hebrew Enoch"), and Maaseh Merkabah.[1] Michael Swartz, Mystical Prayer in Ancient Judaism: An Analysis of Maʻaseh Merkava, Coronet Books Inc 1991 In addition there are many smaller and fragmentary manuscripts that seem to belong to this genre, but their exact relationship to Maaseh Merkabah mysticism and to each other is often not clear (Dennis, 2007, 199–120).
A fifth work provides a detailed description of the Creator as seen by the "descenders" at the climax of their ascent. This work, preserved in various forms, is called Shi'ur Qomah ("Measurement of the Body"), and is rooted in a mystical exegesis of the Song of Songs, a book reputedly venerated by Rabbi Akiva. The literal message of the work was repulsive to those who maintained God's incorporeality; Maimonides (d. 1204) wrote that the book should be erased and all mention of its existence deleted.
While throughout the era of merkabah mysticism the problem of creation was not of paramount importance, the treatise Sefer Yetzirah ("Book of Formation") represents an attempted cosmogony from within a merkabah milieu. This text was probably composed during the seventh century, and evidence suggests Neoplatonic, Pythagoric, and Stoicism influences. It features a linguistic theory of creation in which God creates the universe by combining the 22 letters of the Hebrew alphabet, along with emanations represented by the ten numerals, or sefirot.
Certain key concepts found in the Sefer Yetzirah, such as the "6 directions", are mentioned in the Talmud, and also the title of the book is referenced: yet scholars do not conclude that the versions of the Sefer Yetzirah that have been handed down today are identical to the book which the Talmud references.
By making use of the Rabbinically paradigmatic figures of Rabbi Akiva and Rabbi Ishmael in their writings, the generators of the Hekhalot literature, quite arguably, seem to be attempting to show some sort of connection between their writings and the Chariot/Throne study and practice of the Rabbinic Movement in the decades immediately following upon the destruction of the Temple. However, in both the Jerusalem Talmud and the Babylonian Talmud the major players in this Chariot/Throne endeavor are, clearly, Rabbi Akiva and Elisha ben Abuyah who is referred to as "Akher". Neither Talmud presents Rabbi Ishmael as a player in merkabah study and practice.
In the long study on these matters contained in The Written' as the Vocation of Conceiving Jewishly" (McGinley, J W; 2006) the hypothesis is offered and defended that "Rabbi Ishmael ben Elisha" (more often, simply "Rabbi Ishmael") is in fact a Rabbinically sanctioned cognomen for Elisha ben Abuyah who apostatized from the Rabbinic Movement. The argument is that through this indirection Rabbinic officialdom was able to integrate into the Gemaric give and take of argumentation and analysis the huge body of halakhic and hermeneutical teachings of this great Torah scholar without, however, honoring his equally significant apostasy. To be sure, in the accounting of this figure's mystical study and practice the pejorative (in context) "Akher" is used instead of "Rabbi Ishmael". This is because Elisha ben Abuyah's teachings under the heading of "The Work of the Chariot" came to be considered heretical in contrast to his halakhic and hermeneutical teachings which were generally admired—and whose weighty influence, in any case, could not be ignored. All of this indicates that the generators of the Hekhalot literature were indeed savvy in choosing "Rabbi Ishmael" as paradigmatic in their own writings as a means of relating their own endeavors to the mystical study and practices of the tannaim in the early decades following upon the destruction of the Temple.
Both Akiva and the "Ishmaelic Akher" traded upon the "two-thrones"/"two-powers"-in-Heaven motif in their respective merkabah-oriented undertakings. Akiva's version is memorialized in the Babylonian Gemara to tractate Hagigah at 14a-ii wherein Akiva puts forth the pairing of God and "David" in a messianic version of that mystical motif. Immediately after this Akivian "solution" to the puzzle of thrones referred to in Song of Songs and the two thrones spoken of in Daniel, Chapter , the text presents Akiva as being pressured—and then acquiescing to—a domesticated version of this twoness theme for the single Jewish God which would be acceptable to Rabbinic officialdom. The text offers Justice din and Charity ( Tzedakah) as the middot of God which are enthroned in Heaven. (Again, 14a-ii) Akher's non-Messianic and Metatron-oriented version of this "two-thrones"/"two-powers"-in-Heaven motif is discussed at length in the entry "Paradigmatia" of the above-mentioned study. The generic point in all of this is that by the time of the final editing of the Mishna this whole motif (along with other dimensions of merkabah-oriented study and practice) came to be severely discouraged by Rabbinic officialdom. Those who still pursued these kinds of things were marginalized by the Rabbinic Movement over the next several centuries becoming, in effect, a separate grouping responsible for the Hekhalot literature.
In the "four-entered- pardes" section of this portion of the Babylonian Gemara on tractate Hagigah, it is the figure of Akiva who seems to be lionized. For of the four he is the only one presented who ascended and descended "whole". The other three were broken, one way or another: Ben Azzai dies soon after; Ben Zoma is presented as going insane; and worst of all, "Akher" apostatizes. This putative lionization of Rabbi Akiva occurs at 15b-vi-16a-i of our Gemara section.
The Rabbinic Talmud compares Ezekiel and Isaiah's visions of God's Chariot-Throne, noticing that Ezekiel gives a lengthy account of details, while Isaiah is very brief. It gives an exoteric explanation for this; Isaiah prophesied in the era of Solomon's Temple, Ezekiel's vision took place in the exile of Babylonian captivity. Rava states in the Babylonian Talmud that although Ezekiel describes the appearance of the throne of God, this is not because he had seen more than Isaiah, but rather because the latter was more accustomed to such visions; for the relation of the two prophets is that of a courtier to a peasant, the latter of whom would always describe a royal court more floridly than the former, to whom such things would be familiar. Hagigah 13b Ezekiel, like all prophets except Moses, has beheld only a blurred reflection of the divine majesty, just as a poor mirror reflects objects only imperfectly.Midrash Leviticus Rabbah i. 14, toward the end
The Kabbalistic account explains this difference in terms of the Four Worlds. All prophecy emanates from the divine chokmah (wisdom) realm of Atziluth. However, in order to be perceived it descends to be enclothed in vessels of lower Worlds. Isaiah's prophecy saw the merkabah in the World of Beriah divine understanding, restraining his explanation by realising the inadequacy of description. Ezekiel saw the merkabah in the lower World of Yetzirah divine emotions, causing him to describe the vision in rapturous detail.
The two visions also form the Kedushah Jewish daily liturgy:
According to the Kabbalistic explanation, the Seraphim ("burning" angels) in Beriah (divine understanding) realise their distance from the absolute divinity of Atziluth. Their call, "Holy", repeated three times, means removed or separated. This causes their "burning up" continual self-nullification, ascending to God and returning to their place. Their understanding realises instead that God's true purpose (glory) for creation is with lowly man. The lower Hayyot ("living" angels) in Yetzirah (divine emotions) say, "Blessed etymologically be the glory ... from His distant-unknown place" of Atziluth. Though lower than the Seraphim, their emotional self-awareness has a superior advantage of powerful desire. This causes them to be able to draw down divine vitality from a higher source, the supreme realm of Atziluth, to lower creation and man. In Ezekiel's vision, the Hayyot have a central role in the merkabah's channeling of the Ohr in creation.
The four Hayyot angels represent the basic archetypes that God used to create the current nature of the world. Ophanim, which means "ways", are the ways these archetypes combine to create actual entities that exist in the world. For instance, in the basic elements of the world, the lion represents fire, the ox/earth, the man/water, and the eagle/air. However, in practice, everything in the world is some combination of all four, and the particular combination of each element that exist in each thing are its particular Ophanim or ways.
The 'man on the throne' in the vision of Ezekiel descriptively represents God, who is controlling everything that goes on in the world, and how all of the archetypes He set up should interact. The 'man on the throne', however, drives when the four angels connect their wings. This means that God will not be revealed to us by us looking at all four elements (for instance) as separate and independent entities. However, when one looks at the way that earth, wind, fire and water (for instance) which all oppose each other are able to work together and coexist in complete harmony in the world, this shows that there is really a higher power (God) telling these elements how to act.
This very lesson carries over to explain how the four basic groups of animals and the four basic archetypal philosophies and personalities reveal a higher, Godly source when one is able to read between the lines and see how these opposing forces can and do interact in harmony. A person should strive to be like a Merkaba, that is to say, he should realize all the different qualities, talents and inclinations he has (his angels). They may seem to contradict, but when one directs his life to a higher goal such as doing God's will he (the man on the chair driving the chariot) will see how they all can work together and even complement each other. Ultimately, we should strive to realize how all of the forces in the world, though they may seem to conflict, can unite when one knows how to use them all to fulfill a higher purpose; namely to serve God.
According to biblical scholar Garrett Evan Best, the vision of Ezekiel influenced the apocalyptic themes and mythology of the Book of Revelation in the New Testament. The prophetic and symbolic vocabulary of John in and evidently refers to the vision of the merkabah or heavenly throne of God borrowed from . In Christian art and iconography, the four living creatures (man, lion, ox, and eagle) are used as symbols for the Four Evangelists, The Book of Kells (reprint), Random House, 1993, p. 12, () and appear frequently in church decorations: the lion represents Mark, the ox Luke, the man Matthew, and the eagle John. These creatures are called Zoë or the Tetramorph, and surround the throne of God in Heaven, along with twenty-four elders and seven spirits of God (according to ).
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