Difference between revisions of "Sin of the Golden Calf in Art/0/he"

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<div class="overview">
 
<div class="overview">
 
<h2>הקדמה</h2>
 
<h2>הקדמה</h2>
The Sin of the Golden Calf represents one of the low points in Israel's history.&#160; The three paintings displayed here, Francken's <i>Worship of the Golden Calf</i>,<fn>Frans Francken II (1581-1642) was a Flemish painter, most known for his small-scale pictures of religious, historical and allegorical scenes.&#160; This painting can be found in Rockox House, Antwerp.</fn> Raphael's <i>Adoring the Golden Calf</i>,<fn>Raphael (1483-1529), born Raffaello Sanzio, is one of the most famous artists of the Italian High Renaissance. This fresco is housed in the Vatican, Rome.</fn> and Tissot's <i>The Golden Calf</i>,<fn>James Tissot (1836-1902) was a French painter who spent the later part of his career painting Biblical scenes. In the last years of his life he focused on material from the Old Testament, many of which were exhibited in Paris in the year before his death.&#160; This work is currently housed in The Jewish Museum, New York.</fn> all portray the infamous scene.&#160; Each of the artists depict the story's characters (the calf, Aharon, and the sinning nation) in unique ways, allowing for different understandings of both the nature of the nation's sin and Aharon's role therein.</div>
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חטא עגל הזהב מייצג את אחת מנקודות השפל בתולדות עם ישראל.&#160; שלושת הציורים המוצגים כאן, "פולחן עגל הזהב" של פרנקן,<fn>פרנס פרנקן השני&#160;(1581-1642) was a Flemish painter, most known for his small-scale pictures of religious, historical and allegorical scenes.&#160; This painting can be found in Rockox House, Antwerp.</fn> "הערצת עגל הזהב" של רפאל,<fn>Raphael (1483-1529), born Raffaello Sanzio, is one of the most famous artists of the Italian High Renaissance. This fresco is housed in the Vatican, Rome.</fn> ו"עגל הזהב" של טיסו,<fn>ג'יימס טיסו&#160;(1836-1902) was a French painter who spent the later part of his career painting Biblical scenes. In the last years of his life he focused on material from the Old Testament, many of which were exhibited in Paris in the year before his death.&#160; This work is currently housed in The Jewish Museum, New York.</fn> all portray the infamous scene.&#160; Each of the artists depict the story's characters (the calf, Aharon, and the sinning nation) in unique ways, allowing for different understandings of both the nature of the nation's sin and Aharon's role therein.</div>
 
<category>השוואת התמונות
 
<category>השוואת התמונות
<subcategory>Frans Francken II
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<subcategory>פרנס פרנקן השני
<p>Francken's image is divided into two scenes. In the forefront, Aharon, dressed in high-priestly garb, sits on a throne-like chair as the Israelites deposit gold vessels and jewelry at his feet. In the distance, a group of men and women dance around a tall pillar bearing the golden calf. Others lounge nearby, eating and chatting. On the mountain to the viewer's left, one can faintly make out the figures of Moshe and Yehoshua.</p>
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<p>התמונה של פרנקן מחולק לשתי סצנות. In the forefront, Aharon, dressed in high-priestly garb, sits on a throne-like chair as the Israelites deposit gold vessels and jewelry at his feet. In the distance, a group of men and women dance around a tall pillar bearing the golden calf. Others lounge nearby, eating and chatting. On the mountain to the viewer's left, one can faintly make out the figures of Moshe and Yehoshua.</p>
 
</subcategory>
 
</subcategory>
 
<subcategory>רפאל
 
<subcategory>רפאל
 
<p>Raphael's rendering focuses on but one scene, the worship of the calf itself. A small group of Israelites kneel on the floor around it. Several point to the calf while others raise their arms in prayer. The assembly contains men, women, and children, but Aharon himself appears to be absent. The calf itself is small, just slightly larger than the worshipers' heads. On the left, Moshe and Yehoshua are descending the mountain, with Moshe poised to smash the tablets.</p>
 
<p>Raphael's rendering focuses on but one scene, the worship of the calf itself. A small group of Israelites kneel on the floor around it. Several point to the calf while others raise their arms in prayer. The assembly contains men, women, and children, but Aharon himself appears to be absent. The calf itself is small, just slightly larger than the worshipers' heads. On the left, Moshe and Yehoshua are descending the mountain, with Moshe poised to smash the tablets.</p>
 
</subcategory>
 
</subcategory>
<subcategory>Tissot
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<subcategory>טיסו
<p>Like Raphael, Tissot, too, chooses to portray the moment of worship. He depicts a crowded assembly of men, many of which bow their heads and raise their arms to the large calf. The atmosphere is somber, as the joyous frivolity and dancing of Francken's worshipers is replaced here by awe and supplication. Aharon is highlighted on the left, donning what appears to be a white prayer shawl, apparently leading the others in worship.</p>
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<p>כמו רפאל, גם טיסו, chooses to portray the moment of worship. He depicts a crowded assembly of men, many of which bow their heads and raise their arms to the large calf. The atmosphere is somber, as the joyous frivolity and dancing of Francken's worshipers is replaced here by awe and supplication. Aharon is highlighted on the left, donning what appears to be a white prayer shawl, apparently leading the others in worship.</p>
 
</subcategory>
 
</subcategory>
 
</category>
 
</category>
 
<category>יחס לטקסט המקראי
 
<category>יחס לטקסט המקראי
 
<p>בחירותיהם של האמנים מעידות על ערפול מסויים בטקסט המקראי, ומשקפות דרכים שונות לפרש את הפסוקים:</p>
 
<p>בחירותיהם של האמנים מעידות על ערפול מסויים בטקסט המקראי, ומשקפות דרכים שונות לפרש את הפסוקים:</p>
<subcategory name="Who Worshiped?">
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<subcategory>מי עבד את העגל?
Who Worshiped the Calf?
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<p>בעוד שטיסו depicts a full assembly of people worshiping the calf,&#160;פרנקן ורפאל have only a small portion of the nation participating.&#160; In addition, whereas Tissot includes only men, the other artists portray also women. Which depiction more closely adheres to what actually happened?&#160; What percentage of the people actually worshiped the calf?<fn>The verses are ambiguous. On one hand, Hashem initially tells Moshe that He desires to wipe out the nation (<a href="Shemot32" data-aht="source">שמות ל"ב:י'</a>), suggesting that all were culpable. Yet when the Levites kill the offenders, they smite only 3,000 people (<a href="Shemot32" data-aht="source">שמות ל"ב:כ"ח</a>). Moreover, the chapter ends by stating that "וַיִּגֹּף י"י אֶת הָעָם", again implicating the people at large.&#160; Commentators understand the verses in different ways, with&#160;<multilink><a href="RashiShemot32-20" data-aht="source">רש"י</a><a href="RashiShemot32-20" data-aht="source">שמות ל"ב:כ'</a><a href="R. Shelomo Yitzchaki (Rashi)" data-aht="parshan">אודות ר' שלמה יצחקי</a></multilink> concluding that many sinned, and&#160;<multilink><a href="Kuzari1-97" data-aht="source">כוזרי</a><a href="Kuzari1-97" data-aht="source">א':צ"ז</a><a href="R. Yehuda HaLevi" data-aht="parshan">אודות ר' יהודה הלוי</a></multilink> claiming that only 3,000 did.</fn>&#160; Were males and females equally involved?<fn>The text shares that Aharon told the men to gather their wives' earrings, yet the next verse states that "the <b>nation</b> [not the women] took off their earrings". This leads <multilink><a href="PirkeiDeRabbiEliezer45" data-aht="source">פרקי דרבי אליעזר</a><a href="PirkeiDeRabbiEliezer45" data-aht="source">מ"ה</a><a href="Pirkei DeRabbi Eliezer" data-aht="parshan">אודות פרקי דרבי אליעזר</a></multilink> to suggest that the women refused to participate, forcing the men to provide their own jewelry.</fn></p>
<p>While Tissot depicts a full assembly of people worshiping the calf, Francken and Raphael have only a small portion of the nation participating.&#160; In addition, whereas Tissot includes only men, the other artists portray also women. Which depiction more closely adheres to what actually happened?&#160; What percentage of the people actually worshiped the calf?<fn>The verses are ambiguous. On one hand, Hashem initially tells Moshe that He desires to wipe out the nation (<a href="Shemot32" data-aht="source">שמות ל"ב:י'</a>), suggesting that all were culpable. Yet when the Levites kill the offenders, they smite only 3,000 people (<a href="Shemot32" data-aht="source">שמות ל"ב:כ"ח</a>). Moreover, the chapter ends by stating that "Hashem plagued the nation", again implicating the people at large.&#160; Commentators understand the verses in different ways, with&#160;<multilink><a href="RashiShemot32-20" data-aht="source">רש"י</a><a href="RashiShemot32-20" data-aht="source">שמות ל"ב:כ'</a><a href="R. Shelomo Yitzchaki (Rashi)" data-aht="parshan">אודות ר' שלמה יצחקי</a></multilink> concluding that many sinned, and&#160;<multilink><a href="Kuzari1-97" data-aht="source">כוזרי</a><a href="Kuzari1-97" data-aht="source">א':צ"ז</a><a href="R. Yehuda HaLevi" data-aht="parshan">אודות ר' יהודה הלוי</a></multilink> claiming that only 3,000 did.</fn>&#160; Were males and females equally involved?<fn>The text shares that Aharon told the men to gather their wives' earrings, yet the next verse states that "the <b>nation</b> [not the women] took off their earrings". This leads <multilink><a href="PirkeiDeRabbiEliezer45" data-aht="source">פרקי דרבי אליעזר</a><a href="PirkeiDeRabbiEliezer45" data-aht="source">מ"ה</a><a href="Pirkei DeRabbi Eliezer" data-aht="parshan">אודות פרקי דרבי אליעזר</a></multilink> to suggest that the women refused to participate, forcing the men to provide their own jewelry.</fn></p>
 
 
</subcategory>
 
</subcategory>
<subcategory>Aharon's Role
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<subcategory>תפקידו של אהרן
<p>In Tissot's painting Aharon actively worships the calf, whereas in the other renditions he is absent from the devotional service. What does the Biblical text say about his participation? The Torah is surprisingly silent, and never explicitly vindicates Aharon. On the other hand, the only sin he is consistently blamed for is making the calf, not worshiping it. As Aharon not only avoids punishment, but assumes the role of High Priest, most commentators assume his guilt was less than that of the worshiping nation and look for ways to defend him.<fn>See, for instance, <multilink><a href="RSaadiaGaonCommentaryShemot32-1-6" data-aht="source">ר' סעדיה גאון</a><a href="RSaadiaGaonCommentaryShemot32-1-6" data-aht="source">פירוש שמות ל"ב:א'-ו'</a><a href="R. Saadia Gaon" data-aht="parshan">אודות ר' סעדיה גאון</a></multilink>, who suggests that Aharon pretended to promote idolatry and agreed to the nation's request only in order to determine who was guilty of idolatry.</fn>&#160; ראו <a href="Sin of the Golden Calf" data-aht="page">חטא העגל</a> for a variety of ways to explain Aharon's actions.</p>
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<p>בציור של טיסו Aharon actively worships the calf, whereas in the other renditions he is absent from the devotional service. What does the Biblical text say about his participation? The Torah is surprisingly silent, and never explicitly vindicates Aharon. On the other hand, the only sin he is consistently blamed for is making the calf, not worshiping it. As Aharon not only avoids punishment, but assumes the role of High Priest, most commentators assume his guilt was less than that of the worshiping nation and look for ways to defend him.<fn>ראו למשל, <multilink><a href="RSaadiaGaonCommentaryShemot32-1-6" data-aht="source">ר' סעדיה גאון</a><a href="RSaadiaGaonCommentaryShemot32-1-6" data-aht="source">פירוש שמות ל"ב:א'-ו'</a><a href="R. Saadia Gaon" data-aht="parshan">אודות ר' סעדיה גאון</a></multilink>, who suggests that Aharon pretended to promote idolatry and agreed to the nation's request only in order to determine who was guilty of idolatry.</fn>&#160; ראו <a href="Sin of the Golden Calf" data-aht="page">חטא העגל</a> for a variety of ways to explain Aharon's actions.</p>
 
</subcategory>
 
</subcategory>
<subcategory>Nature of the Worship
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<subcategory>אופי הפולחן
<p>In Francken's painting, the Israelites worship the calf through revelry, as they dance and eat in its presence. In the images of Raphael and Tissot, in contrast, the people kneel and pray.&#160;<a href="Shemot32" data-aht="source">שמות ל״ב:ו'</a> supports both depictions, as it has the people engage in both laughter and sacrifice, suggesting that the worship had elements of both somber devotion and frivolity.</p><p>Nonetheless, the different tones of the works might also reflect conflicting understandings of the people's intentions.&#160; Did the people view the calf as an alternative deity, worshiping it in the manner of idolaters replete with "צחוק" and food?<fn>ראו <multilink><a href="RashiShemot32-1-6" data-aht="source">רש"י</a><a href="RashiShemot32-1-6" data-aht="source">שמות ל"ב:א'-ו'</a><a href="R. Shelomo Yitzchaki (Rashi)" data-aht="parshan">אודות ר' שלמה יצחקי</a></multilink> הנוקט עמדה זו.</fn>&#160; Or, did they think of it as a vehicle through which to serve Hashem himself,<fn>ראו ב<multilink><a href="Kuzari1-97" data-aht="source">כוזרי</a><a href="Kuzari1-97" data-aht="source">א':צ"ז</a><a href="R. Yehuda HaLevi" data-aht="parshan">אודות ר' יהודה הלוי</a></multilink> המבין את מהות החטא באופן זה.</fn> in which case frivolity might have played a lesser role.&#160; להרחבה, ראו <a href="Sin of the Golden Calf" data-aht="page">חטא העגל</a>.</p>
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<p>בציור של פרנקן, the Israelites worship the calf through revelry, as they dance and eat in its presence. בתמונות של רפאל וטיסו, in contrast, the people kneel and pray.&#160;<a href="Shemot32" data-aht="source">שמות ל״ב:ו'</a> supports both depictions, as it has the people engage in both laughter and sacrifice, suggesting that the worship had elements of both somber devotion and frivolity.</p>
 +
<p>Nonetheless, the different tones of the works might also reflect conflicting understandings of the people's intentions.&#160; Did the people view the calf as an alternative deity, worshiping it in the manner of idolaters replete with "צחוק" and food?<fn>ראו <multilink><a href="RashiShemot32-1-6" data-aht="source">רש"י</a><a href="RashiShemot32-1-6" data-aht="source">שמות ל"ב:א'-ו'</a><a href="R. Shelomo Yitzchaki (Rashi)" data-aht="parshan">אודות ר' שלמה יצחקי</a></multilink> הנוקט עמדה זו.</fn>&#160; Or, did they think of it as a vehicle through which to serve Hashem himself,<fn>ראו ב<multilink><a href="Kuzari1-97" data-aht="source">כוזרי</a><a href="Kuzari1-97" data-aht="source">א':צ"ז</a><a href="R. Yehuda HaLevi" data-aht="parshan">אודות ר' יהודה הלוי</a></multilink> המבין את מהות החטא באופן זה.</fn> in which case frivolity might have played a lesser role.&#160; להרחבה, ראו <a href="Sin of the Golden Calf" data-aht="page">חטא העגל</a>.</p>
 
</subcategory>
 
</subcategory>
<subcategory>Size of the Calf
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<subcategory>גודל העגל
 
<p>The three artists depict calves of varying sizes. As the Biblical text provides no measurements, it cannot be determined which is most historically accurate. However, the issue raises important questions about Aharon's motives in building the calf. Did he really agree to make an alternative deity for the people, or, as several commentators suggest, were all his actions aimed at procrastinating until Moshe arrived?<fn>ראו <multilink><a href="RashiShemot32-1-6" data-aht="source">רש"י</a><a href="RashiShemot32-1-6" data-aht="source">שמות ל"ב:א'-ו'</a><a href="RashiShemot32-20" data-aht="source">שמות ל"ב:כ'</a><a href="RashiDevarim10-8" data-aht="source">דברים י':ח'</a><a href="R. Shelomo Yitzchaki (Rashi)" data-aht="parshan">אודות ר' שלמה יצחקי</a></multilink>,&#160;<multilink><a href="PirkeiDeRabbiEliezer45" data-aht="source">פרקי דרבי אליעזר</a><a href="PirkeiDeRabbiEliezer45" data-aht="source">מ"ה</a><a href="Pirkei DeRabbi Eliezer" data-aht="parshan">אודות פרקי דרבי אליעזר</a></multilink>, ו<multilink><a href="RalbagShemotBeurHaParashah31-18" data-aht="source">רלב"ג</a><a href="RalbagShemotBeurHaParashah31-18" data-aht="source">שמות ביאור הפרשה ל"ב</a><a href="R. Levi b. Gershom (Ralbag, Gersonides)" data-aht="parshan">אודות ר' לוי בן גרשום</a></multilink> המסנגרים על אהרן בדרך זו.</fn> If the former, any sized idol should have sufficed. If the latter, however, he might have attempted to make as big a calf as possible so as to prolong the process.</p>
 
<p>The three artists depict calves of varying sizes. As the Biblical text provides no measurements, it cannot be determined which is most historically accurate. However, the issue raises important questions about Aharon's motives in building the calf. Did he really agree to make an alternative deity for the people, or, as several commentators suggest, were all his actions aimed at procrastinating until Moshe arrived?<fn>ראו <multilink><a href="RashiShemot32-1-6" data-aht="source">רש"י</a><a href="RashiShemot32-1-6" data-aht="source">שמות ל"ב:א'-ו'</a><a href="RashiShemot32-20" data-aht="source">שמות ל"ב:כ'</a><a href="RashiDevarim10-8" data-aht="source">דברים י':ח'</a><a href="R. Shelomo Yitzchaki (Rashi)" data-aht="parshan">אודות ר' שלמה יצחקי</a></multilink>,&#160;<multilink><a href="PirkeiDeRabbiEliezer45" data-aht="source">פרקי דרבי אליעזר</a><a href="PirkeiDeRabbiEliezer45" data-aht="source">מ"ה</a><a href="Pirkei DeRabbi Eliezer" data-aht="parshan">אודות פרקי דרבי אליעזר</a></multilink>, ו<multilink><a href="RalbagShemotBeurHaParashah31-18" data-aht="source">רלב"ג</a><a href="RalbagShemotBeurHaParashah31-18" data-aht="source">שמות ביאור הפרשה ל"ב</a><a href="R. Levi b. Gershom (Ralbag, Gersonides)" data-aht="parshan">אודות ר' לוי בן גרשום</a></multilink> המסנגרים על אהרן בדרך זו.</fn> If the former, any sized idol should have sufficed. If the latter, however, he might have attempted to make as big a calf as possible so as to prolong the process.</p>
 
</subcategory>
 
</subcategory>
<subcategory>Jewelry or Vessels?
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<subcategory>תכשיטים או כלים?
<p>Francken presents the people as giving Aharon not only earrings, but also golden vessels.&#160; There is no hint to this in the text which explicitly speaks of "נִזְמֵי הַזָּהָב אֲשֶׁר בְּאׇזְנֵי נְשֵׁיכֶם", but the rendition makes the viewer wonder, why didn't Aharon ask also for vessels? Would it not have made more sense to ask for articles containing greater amounts of gold, rather than for a measly earring?</p><p>This could support the possibility mentioned above, that this, too, was a delaying tactic of Aharon, who was intentionally not being efficient.&#160; Alternatively, Aharon had no choice, since the people might not have had other gold.&#160; This depends on how one understands what was included in the "כְּלֵי כֶסֶף וּכְלֵי זָהָב" that were "borrowed" from the Egyptians.&#160; ראו ביאור <multilink><a href="RashbamShemot3-22" data-aht="source">רשב"ם</a><a href="RashbamShemot3-22" data-aht="source">שמות ג':כ"ב</a><a href="R. Shemuel b. Meir (Rashbam)" data-aht="parshan">אודות ר' שמואל בן מאיר</a></multilink> המובא ב<a href="Reparations and Despoiling Egypt" data-aht="page">פיצויים לעבדות וניצול מצרים</a> המציע that the terms refer not to vessels but rather to jewelry.</p>
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<p>פרנקן&#160;presents the people as giving Aharon not only earrings, but also golden vessels.&#160; There is no hint to this in the text which explicitly speaks of "נִזְמֵי הַזָּהָב אֲשֶׁר בְּאׇזְנֵי נְשֵׁיכֶם", but the rendition makes the viewer wonder, why didn't Aharon ask also for vessels? Would it not have made more sense to ask for articles containing greater amounts of gold, rather than for a measly earring?</p>
 +
<p>This could support the possibility mentioned above, that this, too, was a delaying tactic of Aharon, who was intentionally not being efficient.&#160; Alternatively, Aharon had no choice, since the people might not have had other gold.&#160; This depends on how one understands what was נכלל ב"כְּלֵי כֶסֶף וּכְלֵי זָהָב" ש"שאלו" מן המצרים.&#160; ראו ביאור <multilink><a href="RashbamShemot3-22" data-aht="source">רשב"ם</a><a href="RashbamShemot3-22" data-aht="source">שמות ג':כ"ב</a><a href="R. Shemuel b. Meir (Rashbam)" data-aht="parshan">אודות ר' שמואל בן מאיר</a></multilink> המובא ב<a href="Reparations and Despoiling Egypt" data-aht="page">פיצויים לעבדות וניצול מצרים</a> המציע that the terms refer not to vessels but rather to jewelry.</p>
 
</subcategory>
 
</subcategory>
<subcategory>Aharon as High Priest
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<subcategory>אהרן ככהן גדול
<p>While Frans Francken II dresses Aharon in the breast plate of the high priest, Tissot clothes him as an ordinary Israelite.&#160; The contrasting portraits reflect a controversy regarding when Aharon was selected to be high priest: before or after the Sin of the Golden Calf.&#160; להרחבה, ראו <a href="Selection of the Priests and Levites" data-aht="page">בחירת הכהנים והלויים</a>.</p>
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<p>בעוד שפרנס פרנקן השני dresses Aharon in the breast plate of the high priest, טיסו clothes him as an ordinary Israelite.&#160; The contrasting portraits reflect a controversy regarding when Aharon was selected to be high priest: לפני או אחרי חטא עגל הזהב.&#160; להרחבה, ראו <a href="Selection of the Priests and Levites" data-aht="page">בחירת הכהנים והלויים</a>.</p>
 
</subcategory>
 
</subcategory>
<subcategory>Pedestal
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<subcategory>הבסיס של העגל
<p>Each of the artists depicts the calf on top of some sort of pedestal, be it a pillar or a more simple platform. No evidence for such a base is found in the description in Shemot.&#160;<multilink><a href="UCassutoShemot32-1" data-aht="source">מ"ד קאסוטו</a><a href="UCassutoShemot32-1" data-aht="source">שמות ל"ב:א'</a><a href="Prof. Umberto Cassuto" data-aht="parshan">אודות פרופ' משה דוד קאסוטו</a></multilink> suggests that this is because, in reality, the nation had meant the calf itself to serve as a pedestal, or throne, for Hashem's glory. In the Ancient Near East, deities were often depicted as standing on bases of beasts. Aharon imitated the standard artistic convention, with the important difference of not adding any image of Hashem Himself atop the pedestal.<fn>להרחבה, ראו <a href="Sin of the Golden Calf in Art" data-aht="page">חטא העגל באמנות</a>.</fn></p>
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<p>Each of the artists depicts the calf on top of some sort of pedestal, be it a pillar or a more simple platform. No evidence for such a base is found in the description בספר שמות.&#160;<multilink><a href="UCassutoShemot32-1" data-aht="source">מ"ד קאסוטו</a><a href="UCassutoShemot32-1" data-aht="source">שמות ל"ב:א'</a><a href="Prof. Umberto Cassuto" data-aht="parshan">אודות פרופ' משה דוד קאסוטו</a></multilink> suggests that this is because, in reality, the nation had meant the calf itself to serve as a pedestal, or throne, for Hashem's glory. In the Ancient Near East, deities were often depicted as standing on bases of beasts. Aharon imitated the standard artistic convention, with the important difference of not adding any image of Hashem Himself atop the pedestal.<fn>להרחבה, ראו <a href="Sin of the Golden Calf in Art" data-aht="page">חטא העגל באמנות</a>.</fn></p>
 
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Version as of 13:41, 6 August 2019

חטא העגל באמנות

הקדמה

חטא עגל הזהב מייצג את אחת מנקודות השפל בתולדות עם ישראל.  שלושת הציורים המוצגים כאן, "פולחן עגל הזהב" של פרנקן,1 "הערצת עגל הזהב" של רפאל,2 ו"עגל הזהב" של טיסו,3 all portray the infamous scene.  Each of the artists depict the story's characters (the calf, Aharon, and the sinning nation) in unique ways, allowing for different understandings of both the nature of the nation's sin and Aharon's role therein.

השוואת התמונות

פרנס פרנקן השני

התמונה של פרנקן מחולק לשתי סצנות. In the forefront, Aharon, dressed in high-priestly garb, sits on a throne-like chair as the Israelites deposit gold vessels and jewelry at his feet. In the distance, a group of men and women dance around a tall pillar bearing the golden calf. Others lounge nearby, eating and chatting. On the mountain to the viewer's left, one can faintly make out the figures of Moshe and Yehoshua.

רפאל

Raphael's rendering focuses on but one scene, the worship of the calf itself. A small group of Israelites kneel on the floor around it. Several point to the calf while others raise their arms in prayer. The assembly contains men, women, and children, but Aharon himself appears to be absent. The calf itself is small, just slightly larger than the worshipers' heads. On the left, Moshe and Yehoshua are descending the mountain, with Moshe poised to smash the tablets.

טיסו

כמו רפאל, גם טיסו, chooses to portray the moment of worship. He depicts a crowded assembly of men, many of which bow their heads and raise their arms to the large calf. The atmosphere is somber, as the joyous frivolity and dancing of Francken's worshipers is replaced here by awe and supplication. Aharon is highlighted on the left, donning what appears to be a white prayer shawl, apparently leading the others in worship.

יחס לטקסט המקראי

בחירותיהם של האמנים מעידות על ערפול מסויים בטקסט המקראי, ומשקפות דרכים שונות לפרש את הפסוקים:

מי עבד את העגל?

בעוד שטיסו depicts a full assembly of people worshiping the calf, פרנקן ורפאל have only a small portion of the nation participating.  In addition, whereas Tissot includes only men, the other artists portray also women. Which depiction more closely adheres to what actually happened?  What percentage of the people actually worshiped the calf?4  Were males and females equally involved?5

תפקידו של אהרן

בציור של טיסו Aharon actively worships the calf, whereas in the other renditions he is absent from the devotional service. What does the Biblical text say about his participation? The Torah is surprisingly silent, and never explicitly vindicates Aharon. On the other hand, the only sin he is consistently blamed for is making the calf, not worshiping it. As Aharon not only avoids punishment, but assumes the role of High Priest, most commentators assume his guilt was less than that of the worshiping nation and look for ways to defend him.6  ראו חטא העגל for a variety of ways to explain Aharon's actions.

אופי הפולחן

בציור של פרנקן, the Israelites worship the calf through revelry, as they dance and eat in its presence. בתמונות של רפאל וטיסו, in contrast, the people kneel and pray. שמות ל״ב:ו' supports both depictions, as it has the people engage in both laughter and sacrifice, suggesting that the worship had elements of both somber devotion and frivolity.

Nonetheless, the different tones of the works might also reflect conflicting understandings of the people's intentions.  Did the people view the calf as an alternative deity, worshiping it in the manner of idolaters replete with "צחוק" and food?7  Or, did they think of it as a vehicle through which to serve Hashem himself,8 in which case frivolity might have played a lesser role.  להרחבה, ראו חטא העגל.

גודל העגל

The three artists depict calves of varying sizes. As the Biblical text provides no measurements, it cannot be determined which is most historically accurate. However, the issue raises important questions about Aharon's motives in building the calf. Did he really agree to make an alternative deity for the people, or, as several commentators suggest, were all his actions aimed at procrastinating until Moshe arrived?9 If the former, any sized idol should have sufficed. If the latter, however, he might have attempted to make as big a calf as possible so as to prolong the process.

תכשיטים או כלים?

פרנקן presents the people as giving Aharon not only earrings, but also golden vessels.  There is no hint to this in the text which explicitly speaks of "נִזְמֵי הַזָּהָב אֲשֶׁר בְּאׇזְנֵי נְשֵׁיכֶם", but the rendition makes the viewer wonder, why didn't Aharon ask also for vessels? Would it not have made more sense to ask for articles containing greater amounts of gold, rather than for a measly earring?

This could support the possibility mentioned above, that this, too, was a delaying tactic of Aharon, who was intentionally not being efficient.  Alternatively, Aharon had no choice, since the people might not have had other gold.  This depends on how one understands what was נכלל ב"כְּלֵי כֶסֶף וּכְלֵי זָהָב" ש"שאלו" מן המצרים.  ראו ביאור רשב"םשמות ג':כ"באודות ר' שמואל בן מאיר המובא בפיצויים לעבדות וניצול מצרים המציע that the terms refer not to vessels but rather to jewelry.

אהרן ככהן גדול

בעוד שפרנס פרנקן השני dresses Aharon in the breast plate of the high priest, טיסו clothes him as an ordinary Israelite.  The contrasting portraits reflect a controversy regarding when Aharon was selected to be high priest: לפני או אחרי חטא עגל הזהב.  להרחבה, ראו בחירת הכהנים והלויים.

הבסיס של העגל

Each of the artists depicts the calf on top of some sort of pedestal, be it a pillar or a more simple platform. No evidence for such a base is found in the description בספר שמות. מ"ד קאסוטושמות ל"ב:א'אודות פרופ' משה דוד קאסוטו suggests that this is because, in reality, the nation had meant the calf itself to serve as a pedestal, or throne, for Hashem's glory. In the Ancient Near East, deities were often depicted as standing on bases of beasts. Aharon imitated the standard artistic convention, with the important difference of not adding any image of Hashem Himself atop the pedestal.10