Instructions for crafting a place for God to dwell include a pair of hammered-work creatures, with upward spreading wings, facing one another above the cover of the Ark. Between the two sculptured figures is where God promises to meet Moses to deliver further Revelation (Exodus 25:10-22, in parashat Terumah: Ex 25:1-27:19). The imagery is intriguing, if disconcerting: too close to forbidden graven images, too similar to idols of neighboring ancient cultures, and, ultimately, too erotic for prime time. But I’ve I recently learned some new perspectives on the hammered-work creatures and, more generally, the way religious imagery can work for us or not.
UPDATE April 15: See also Fabrangen’s Omer Blog for more on “full of water.”
Imagery of a pit [bor] appears over the years in the poetry of Yehuda Amichai. Frequently, as in the Joseph story (“the pit was empty, there was no water in it” [Gen. 37:24]), Amichai’s pits are without water. Toward the end of his life, however, he published a poem in which a mikveh — which can be understood as a sort of pit filled with water — plays a prominent role:
Then we came to a ritual bath in ruins….
…Speak O my soul, sing
O my soul to the God who is Himself part of the cycle
of praise and lament, curse and blessing.
Speak O my soul, sing O my soul, Change is God
and death is his prophet.
–Yehuda Amichai, stanza #10, “Jewish Travel: God is Change and Death is His Prophet” in Open Closed Open
Here, for Temple Micah’s study group and anyone else interested, are a few references for exploring this idea.