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THE EMBLEM OF ISRAEL – SEEN IN A NEW LIGHT

BEHA’ALOTHECHA: A THOUGHT FOR THE WEEK

BY RABBI DAVID FREEDMAN

An interesting question was put recently as to which symbol in Judaism most

regularly and popularly represents the Jewish people.

It is probably true that most Jews, especially those in the Diaspora would

answer the Magen David, the Star of David. It is used frequently by Jewish

booksellers, bakers, butchers, schools and of course synagogues to advertise

their presence. Even the Israeli flag bears the famous six-pointed star.

Our enemies also see it as a symbol of our peoplehood. In Nazi controlled

Europe, with a few notable exceptions, Jews were forced to wear the yellow

Star of David; while in more modern times anti-Semitic graffiti, appearing on

the walls of our schools, synagogues, Jewish community centres and even

tombstones would often include a Magen David.

Many years ago, I read a book by Rabbi Rudolph Brasch, in which he claimed

that King David had the Magen David on his shield. It was a great idea, but

most scholars would argue, highly unlikely.

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The basis for the idea was the fact that in ancient Hebrew, known as paleo-

Hebrew, the letters of the Hebrew alphabet were written differently from our

modern ‘Assyrian’ script. For example, the fourth letter of the alphabet ‘dalet’

was shaped in those days like a triangle to represent the delet – or doorway of

a tent. So, Brasch argued, the two consonants that make the name David, dalet

and dalet were arranged on his shield as two overlaid equilateral triangles that

form the six-pointed star known to us as the Magen David (The Shield of

David).

As an aside, the 4th letter of the Greek alphabet – Delta – is also shaped like a

triangle, which in turn led to the shape of the capital D () in English.

In spite of this ingenious idea by Rabbi Brasch, the hard evidence points to the

fact that the Magen David did not become a Jewish symbol until the Middle

Ages. It’s true that it is found as a decorative motif in an ancient synagogue in

the Galilee (3rd–4th century CE) and also on a Hebrew manuscript of the Bible

dated 1008 CE – but it was only much later that the Star of David appeared

with greater frequency among the Jewish people. The Encyclopaedia

Brittanica notes that this geometric design, known as a hexagram, was found

just as often on medieval cathedrals.

The Jewish community of Prague was the first to use the Star of David as its

official symbol, and from the 17th century onwards the six-pointed star

became the official seal of many Jewish communities and a general sign of

Judaism. Although it has no Biblical or Talmudic authority, the star was almost

universally adopted by Jews in the 19th-century perhaps as a striking and

simple emblem of Judaism in imitation of the cross within Christianity.

Whist the Magen David (as a Jewish symbol) is of dubious origin, none can

dispute the fact that the Menorah is an authentic Jewish religious artefact

dating from the earliest days of Jewish history. It is mentioned in the Book of

Exodus, and features prominently in this week’s sidra of Beha’alotecha

(Numbers 8: 1-4). In addition, in more recent times, the Menorah was chosen

to become the emblem of the State of Israel.

Apart from the Menorah that is mentioned in the Bible, we have the famous

Arch of Titus in Rome (see above) which displays Roman soldiers or perhaps

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Jewish slaves bearing the Menorah following the destruction of the Second

Temple in 70 CE.

Then of course there is the magnificent

bronze menorah located at the edge of Gan

Havradim (The Rose Garden) opposite the

Knesset. It was designed by Benno Elkan, a

Jewish sculptor who escaped from his native

Germany to Britain. It was presented to the

Knesset as a gift from the Parliament of the

United Kingdom on April 15, 1956 in honour

of the eighth anniversary of Israeli

independence.

We also find images of the Menorah

unearthed by archaeologists who continue to

dig up breathtaking proofs of the ancient and never-severed connection

between Jews and the Land of Israel.

I am referring specifically to a 1,500 year old tiny stamp discovered near the

city of Akko, bearing the image of the seven-branched Temple Menorah.

Gilad Jaffe and Dr. Danny Syon, on behalf of the Israel Antiquities Authority,

explained that a number of stamps bearing an image of a menorah had been

found in different locations

around Israel and as such it was

clear that such an image had

become a Jewish symbol.

In this case it was used to identify

baked products that belonged to

a bakery that supplied kosher

bread, as opposed to Christian

bread stamps during the

Byzantine period which had been found in other archaeological digs which

contained the cross pattern.

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The Menorah has also been featured on Jewish coins, ancient and modern.

Judean coins dated around 40 BCE carry the Menorah, as have many of the

coins in the modern State of Israel. Depicted

here is a coin from 40-37 BCE. It is known as

the coin of Mattathias Antigonus the

Hasmonean, King of Judea. The menorah on

the coins from this era are amongst the

earliest surviving depictions of the seven-

branched lampstand used in the Jerusalem Temple.

There have been other fascinating discoveries. Here is an oil lamp with the

Menorah design. What could have been more appropriate? Just as the oil

lamp was to bring light into a person’s home in the dark of night, so the

Menorah was to shed light of a more

spiritual nature on all of Israel. This

particular oil lamp, dated somewhere

between 100 BCE and 100 CE, is a forerunner

of modern Israeli art which also uses Jewish

ritual objects in their work as signs of

national identity.

Of course in more recent times Israeli coinage has also included the image of

the Menorah. Here is one of the early 1 Lira coins issued in 1958. The

inscription beneath the Menorah (Torah Ohr) is taken from the Book of

Proverbs 6:23: “For the commandment is a lamp, and Torah the light.”

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But more than all of this, the Menorah proclaims a unique message to all of

mankind, for the choice of this symbol combines the qualities of peace,

universal enlightenment, equality and unity.

The Menorah which Moses was commanded to make out of a single piece of

gold, was to be kept permanently alight with pure olive oil. The olive oil gave a

steady and clear light indicating peace and tranquillity, whilst at the same time

illuminating the true teachings of Torah. In our synagogues to this day we

always find a Ner Tamid – an everlasting light – to represent this same idea.

Each of the seven shafts gave the same amount of light representing the equal

opportunities for thought and contribution from each and every human being

in society, though reaching the flame through different branches of opinion

and endeavour.

The single, solid stem of gold symbolised the essential unity of the Jewish

people, all stemming from its common source – ahavat Torah, ve-ahavat

Yisrael, its deep and unending relationship with Torah (Jewish learning and

observance) and with the land of Israel.

Finally, the oil had to be pure, just as the ideals and aims of Israel were to be

fulfilled through our strict moral code, without distraction, distortion or

compromise.

Perhaps because of some or all of these reasons, the Menorah was chosen to

become the emblem of Medinat Yisrael, and that, itself, is a most interesting

story.

In writing about the birth of Israel in 1948, Daniella Gardosh-Santo and Yoram

E. Shamir explain that just two days before the Declaration of Independence in

May 1948, the members of the People’s Administration realized that they had

forgotten a number of rather important details about founding a new nation.

For example, they had yet to decide on the State’s name. Various suggestions

were tabled at that meeting: Judah, Zion, and of course, the eventual winner –

Israel.

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Three weeks after the State’s establishment, the interim provisional

government invited the citizens of Israel to propose a design for the national

flag and emblem. The design guidelines left the competing artists with room

for creative license.

Some guidelines were laid down: regarding the flag, the colours were to be

sky-blue and white, and as for the emblem it was to feature ‘a seven-lamp

candelabra and seven stars’. The guidelines also stated that, “Any other

suggestion or idea is welcome,” and included the disclaimer that, “The

government is not obliged to accept any of the suggestions received.”

No inscription was specified and no guidelines were given regarding borders or

the framing of the emblem. The final date for submissions was June 14, 1948.

To avoid imitating the emblems of European countries and to create a uniquely

Jewish emblem, ancient visual symbols from former periods of Jewish

sovereignty were sought.

Much importance was attached to symbolizing the

continuity and fulfilment of the Zionist dream in

the emblem of Israel. Whereas the flag essentially

had been created in the Diaspora, by Zionist

dreamers such as Herzl, the emblem was designed

in Israel, by those who had realized the dream.

Because it had to incorporate elements of

symbolic meaning, the designers felt a heavy sense

of mission and responsibility.

A variety of proposals were submitted, one bore

the Ten Commandments, another Jacob’s Ladder,

the famous Stairway to Heaven. There was the

Lion of Judah and then one particularly impressive

and colourful design of the High Priest’s breast-

plate, incorporating the names of the twelve tribes of Israel. There were a

number with the Menorah.

The Provisional Government’s call yielded 450 proposals. One by one they

were all rejected; a second advertisement calling for submissions was

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published. In the second round, the proposed emblem by Gavriel and Maxim

Shamir carried the day.

The brothers told of how they had

studied all the emblems of the

countries of the world. In the

course of their research they

discovered that no country had a

candelabra in its emblem, but one

country did have a six-pointed star,

like the “Star of David”. It is most

likely that they also learned that

the vast majority of national

emblems were in the shape of

heraldic shields, such as those used

by royal and noble houses since the

Middle Ages.

Although the design had been approved, the Shamir brothers were asked to

make some changes to the emblem. Firstly, to add the name “Israel”, second,

to replace the modern menorah with the one carved into the Arch of Titus in

Rome.

Borrowing the menorah from the Arch of Titus would constitute the visual

metaphor of an idea prevalent in those years: just as the relief representing

Titus's triumphal procession in Rome stood for the destruction of the Jewish

state in 70 CE, so its rebirth would be symbolized by the return of the menorah

- if not to the Temple - then to the newly born State of Israel.

In other words, the menorah is returned from the Arch of Titus, where it

symbolizes defeat, humiliation and disgrace, and is installed in a place of

honour on the emblem of the State, the establishment of which is testimony to

the eternity of the Jewish people.

In this way, past, present and future are all linked in one symbolic motif.

The olive branches were also added as the brothers found them to be “the

most appealing expression of the love of peace among the People of Israel.”

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Knowingly, or otherwise, they had integrated, in an artistic way, an ancient

Biblical text.

In Zechariah 4: 2-3 the prophet describes how the olive branches, the very

source of the oil used in the Temple Menorah, are placed right next to the

candelabra:

I see a solid gold lampstand with a bowl at the top and seven lamps on it, with

seven channels to the lamps, and there on either side are two olive trees, one

on the right, one on the left.

Finally, after examining two versions prepared by the brothers, the committee

decided to drop the seven stars, even though these stars had been inspired by

Theodor Herzl. In his mind the seven stars represented the seven-hour work-

day that he had envisioned would become standard in the new and long-

awaited Jewish state.

So the final proposal was submitted to the commission on February 10, 1949

and was approved unanimously. Two days later the official newspaper of the

Provisional Government published an announcement of the national emblem

signed by the commission’s chairman, Yosef Sprintzak.

A few months later, the Shamir brothers prepared a final version of the

emblem, in which the base of the menorah was embellished.

The unveiling of the emblem brought with it both praise and criticism. The

critique focused on the graphic design and the choice of the menorah from the

Arch of Titus, which is at odds with the description of the Temple Menorah as

described in the Bible. Chief Rabbi Isaac HaLevi Herzog was particularly critical.

“Apparently foreign hands have been involved,” he said, “and it is not at all in

accordance with the sacred text.”

An article published on February 21, 1949 in the ‘Yedioth Ahronoth’ newspaper

posited: “What would the artists prefer: A design that was approved, yet

critiqued, or one that was rejected and acclaimed by all? We would safely

guess that the Shamir Brothers would choose the former.”

To return to the Biblical account of the Menorah, one final thought.

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As previously mentioned, the menorah was hammered out of a single piece of

pure gold, but it had, according to the Biblical text in Exodus 25:31, some

decorations that are described in botanical terms—petals, buds and flowers.

Its central shaft is surrounded by six branches. As one rabbi wrote, ‘It is a

golden tree that blossoms with fire in the sanctuary of Israel’.

The effect must have been to create a tree with light from each branch

reflecting from the shiny surface of the central shaft. To those who saw it, this

brilliant golden tree, with light glowing from its centre must have been a

reminder of that formative moment in the life of Moses when God's voice was

heard coming from a bush lit at its centre with eternal flames.

That, is as close to an image of the Creator as Judaism will allow. At the centre

of all reality, there grows a living tree that is an absolute and pure unity. It is

the place where beams of light from different sources combine. At the centre,

all differences disappear and all apparent contradictions are resolved in a

single shaft of brilliant Oneness.

So it is that the Menorah is replete with symbolism, and without any doubt is a

worthy holder of the title, THE EMBLEM OF ISRAEL.