בס”ד
By Rabbi Moshe Goodman, Kollel Ohr Shlomo, Hebron
We find that the life of Moshe Rabeinu, the leader of Israel in the Exodus, has parallels to the story of the Nation of Israel on a grander scale. For example, Moshe Rabeinu was drawn from the waters as a baby and also Israel were drawn from the waters, so-to-speak, of the Red Sea in this parsha. Moshe Rabeinu first receives his revelation and prophecy at Mount Sinai/Horeb, and then later he brings all Israel to this very mountain to receive the revelation of the Giving of the Torah. Moshe Rabeinu first experiences the first plague of blood on a personal level and then this plague is brought on a grander scale upon all Egypt.
In this painting we seem to see a figure being taken out of the waters at the bottom of the painting. Nevertheless, we also seven “drops” of fire within this figure, and at this figure’s head flames of fire. This seems to reflect the teaching that heaven “shamayim” is a combination of two words “esh” – fire – and “mayim” –water. Therefore, this figure seems to represent a heavenly figure, and considering the drawing of waters we just mentioned, it seems that this figure hints to Moshe Rabeinu. The significance of seven fire drops seems to be tied to the Kabbalistic concept of the seven sparks of holiness that descended in the Breaking of Vessels, and which are meant to be raised back above in the process of rectification and redemption. Since Moshe Rabeinu is so identified with the redemption both in the past, and also according to the Zohar in the future, it is much understood why these sparks/drops of fire are found in the figure we identified with Moshe Rabeinu. We see that these “fire sparks” continue to ascend which follows with the Kabbalistic teaching regarding these sparks which continue to ascend from level to level to the upper spiritual worlds. In the upper spiritual worlds they also go through a process somewhat similar to human gestation, and this may be hinted in the painting as well by the fire-like figures seen at the top of the painting. Ultimately, at the top of the painting we see blue spheres resembling the bottom, but yet with a small hole at their center. This matter may hint to the upper heavens associated with the lower waters, both of bluish color, which were originally together before being divided on the second day of Creation. The spheres with a hole at their center may hint to the “hole of the tzimtzum,” a Kabbalistic concept as well. At the bottom of the painting we see trees next to the waters, which may hint to the splitting of the Sea when the walls of water had fruit trees within them according to the Midrash.
Just as we saw how Moshe Rabeinu can be seen as a microcosm of Israel so too we may see Hebron as a microcosm of the future redemption as it says: ““At that time (the “end of days”) the three Patriarchs will adjoin with might, and Truah, Shvarim, Tkiah will be sounded, and with them the “the earth shall shake”, and this will be in the “end of days”, and all these miracles will be in the Land of Israel, for there is located Hebron where the Patriarchs are buried.”(Tikunei Zohar 13, 28b)