Moshe and the Luchot in Art/0

Moshe and the Luchot in Art

THIS TOPIC IS STILL BEING DEVELOPED AND UPDATED

Introduction

The three images discussed here all display Moshe with the Tablets of the Covenant, ("לֻחוֹת הַבְּרִית") but at slightly different points in the narrative. In Reni's image,¹ Moshe simply holds the tablets, while in Tissot's painting² he prepares to throw them in response to the sin of the Golden Calf. Chagall³ illustrates the next moment, after the tablets have already been dropped. The three artists' depictions of Moshe vary, reflecting their different understanding of his emotions at this juncture. Similarly, their portrayals of the tablets differ, highlighting how little we really know about their shape, size, and what was written on each of them.

Contrasting Images

Reni

Reni's painting is almost a portrait of Moshe. The majestic leader fills the image, his red robes contrasting with the grey clouds in the sky. He holds one of the long stone tablets against his body and lifts the other above his head. It is not clear if he is reacting to the Golden Calf, or if he is simply calling out to the nation to present them with the tablets.

Tissot

Unlike Reni, Tissot chooses to render Moshe in action, capturing his fury at the sinning nation. Moshe stands on a rock, body arching back, as he prepares to hurl the tablets below. A second figure, presumably Yehoshua, reaches for Moshe's robes, perhaps attempting to prevent the sacred tablets from being destroyed. The scene is set, not amidst lofty clouds, but against a mountainous range. The harsh lines of the stones reflect Moshe's severe response to the Golden Calf.

Chagall

Chagall, like the other artists, opts to portray just Moshe and the tablets without the accompanying nation. The image is divided on a diagonal with a hint of grey-black clouds filling the left half, and a greenish mountain covering the right. A dismayed Moshe stands on Mount Sinai, his hands held aloft in a gesture of helplessness. At his feet lie the still intact stone tablets which have apparently dropped from his hands.

Relationship to the Biblical Text

The artists' choices reflect certain ambiguities in the Biblical text and different possible interpretive stances:

One or Two?

While Tissot portrays the tablets as two connected blocks of stone,⁴ Reni depicts them as two separate tablets. Which depiction is closer to the Biblical text? The tablets are consistently referred to as "two tablets of testimony" or "two tablets of stone",⁵ suggesting that they were two distinct slabs. Why, then, do Tissot and many earlier artists depict them as attached? This may be due to the fact that writing tablets in medieval times took the form of diptychs (a two-leaved tablet).⁶ Alternatively, the popular assumption that each tablet contained only five commandments⁷ may have led artists to view each tablet alone as incomplete, and, thus, to join the two.

Throwing the Tablets

In Tissot's image, an angry Moshe is clearly about to heave the tablets down below. In Chagall's painting, in contrast, Moshe looks as if he has simply dropped the stones. What really happened? Shemot 32:19 states, "וַיַּשְׁלֵךְ מִיָּדָיו אֶת הַלֻּחֹת וַיְשַׁבֵּר אֹתָם תַּחַת הָהָר", which is commonly understood to mean that Moshe intentionally smashed the tablets.⁸ Rashbam, though, suggests that upon seeing the Golden Calf, Moshe's strength left him and the tablets fell from his hands.⁹ Instead of focusing on Moshe's anger, Rashbam and Chagall highlight Moshe's frustration and disappointment with the nation.

Division of the Decalogue

How were the commandments written on the tablets? Of the three artists, only Reni relates to the question, and both his division of the commandments into ten and how he distributes them upon each stone differ from the standard representation. Many assume that there were five commandments on each tablet,¹⁰ but Reni instead displays seven commandments on the second tablet, starting with "Honor your father…". Furthermore, he splits the prohibition against coveting into two separate commandments. Where does such a division stem from? Though the Torah states that there were ten sayings on the tablets,¹¹ nowhere does it say what constituted each commandment,¹² nor how these were distributed amongst the two stones,¹³ allowing for many possibilities.¹⁴ For elaboration, see Decalogue: Division and Design.

Shape and Size

All three artists paint the tablets as curved on top, but differ in the way they envision their overall size. While Tissot and Chagall portray the tablets as relatively small and, as a twosome, somewhat square, Reni depicts very long rectangular tablets. The Biblical text is silent on the tablets' shape and size but Rabbinic sources¹⁵ suggest that each was a square, six handbreadths in width and length, and three handbreadths in thickness. It is not clear exactly how these measurements are reached, and in fact, the only known limiting factor is related to the dimensions given for the ark which contained them.¹⁶

Horns?

Chagall portrays Moshe with two horns on his head. These are absent from the other depictions, but are a prominent feature of many renderings of Moshe. In Shemot 34, after Moshe descends with the second set of tablets, we are told, "כִּי קָרַן עוֹר פָּנָיו". Moshe's skin took on a radiant glow. The misconception that the verse speaks of a horned Moshe stems from a mistranslation in Jerome's Latin Vulgate which renders "קָרַן", as cornuta, or horn.¹⁷ It is somewhat surprising, though, that Chagall, a Jewish artist, should be influenced by the Vulgate, and it is possible that his source is actually Rashi's comments on the verse.¹⁸ When explaining the phrase, Rashi also connects the word, "קָרַן", to horns, writing, "because the light shone and protruded like horns." Chagall, thus, is likely portraying shining beams, which simply appear like horns.¹⁹

¹ Reni (1575-1642) was an Italian Baroque painter, known for his classical style and his many religious and mythological scenes. This painting dates to 1624 and is currently housed in the Galleria Borghese, Italy.

² James Tissot (1836-1902) was a French painter who spent the later part of his career painting Biblical scenes. This painting can be found in the Jewish Museum, New York.

³ Marc Chagall (1887-1985) was born in Russia to a Chassidic family. He is one of the most well-known and celebrated modern Jewish artists, working in a variety of media from painting to stained glass. Many of his works were inspired by his Chassidic background and relate to religious and Biblical themes. This painting can be found in the Musée National Message Biblique Marc Chagall, France.

⁴ In this image it is not totally clear whether Chagall's tablets are connected or not. In several of his other images, though, they are more obviously attached.

⁵ See, for instance, Shemot 31:18, 32:15, 34:1, 34:29

⁶ Thus, medieval artists naturally depicted the tablets based on their contemporary models. Modern artists, in turn, were likely influenced by the earlier renderings.

⁷ See below that not all agree on this point.

⁸ This is supported by the piel (intensive) form of the word "וַיְשַׁבֵּר".

⁹ The word "וַיַּשְׁלֵךְ" is difficult as it connotes a throwing rather than dropping. This prompts Rashbam to suggest that Moshe managed to throw them slightly away from him so as not to drop them on his feet. Rashbam's position might be motivated by a discomfort with the idea that Moshe would intentionally destroy the handiwork of Hashem.

¹⁰ See, for example, this other depiction of the tablets by Chagall, or Rembrandt's famous image. Depictions of the tablets in many synagogues atop the ark similarly tend to portray five on each slab.

¹¹ See Shemot 34:28.

¹² The main disagreements revolve around the beginning and ending of the Decalogue. Some commentators, like Ibn Ezra, do not not count "I am the Lord" at all, while splitting "Do not covet" into two (one for each mention of the word "covet"). The Sifre, in contrast, appears to combine the first statement with the second statement, "You shall not have other gods…". Alternatively, one could split "You shall not have" into two commandments ("You shall not have" and "You shall not make").

¹³ According to R. Chanina ben Gamliel in the Mekhilta, there were five on each tablet, each commandment, in some way, relating to its partner on the second tablet. The sages there, in contrast, suggest that there were ten on each tablet. This position can be understood in light of what is known about covenants in the Ancient Near East, where a copy of the terms was given to each party. If the tablets represented the written contract of the covenant between Hashem and His nation, here too, two copies are necessary. Other opinions in the Yerushalmi go as far as to suggest that there were 20 or 40 on each tablet, presumably assuming that the commandments were written on the front and back of the stones, or that the stones were a cube and written on four sides.

¹⁴ Reni follows the division of Augustine, who has three commandments between man and God on one tablet and seven commandments between man and man on the other. [He combines "I am the Lord" and "Do not have..." into one commandment, so that the first three commandments are: "I am the Lord...", "Do not take God's name in vain", and "Remember the Sabbath".]

¹⁵ See the discussion in Bavli Bava Batra 14a.

¹⁶ The ark was two and a half cubits in length, a cubit and a half in width, and a cubit and a half in height. This gives a maximum but not minimum size for the tablets. As it is not clear if the two tablets were placed side by side (as assumed by the Talmud Bavli) or laid one atop of the other, many varying dimensions are possible. There is also controversy regarding what else was placed in the ark and regarding the amount of handbreadths in a cubit, all of which would further affect one's calculations.

¹⁷ This is a valid possible translation of the noun form, קרן, which can be understood as either a beam of light or a horn. In context, though, the verse seems to be speaking of a shining countenance, not a horned Moshe. It is possible that Jerome himself did not think that Moshe literally sprouted horns, but was understanding the word horned as a metaphor to mean glorified or strong. See Yirmeyahu 48:25, Yechezkel 29:21, and Tehillim 148:14 where such metaphoric usages can be found.

¹⁸ It is, of course, also possible that it is not the Vulgate itself but other artistic renderings drawing off the Vulgate which influenced him.

¹⁹ In some of his other depictions, this is more explicit. See, for example, here.