(1.) Jewish Iconography of Sevens
The seven-branched menorah, a symbol rooted in antiquity, holds a profound place in the tapestry of Jewish identity and faith. As founders in the study of life's modalities, we have delved into the depths of its enduring relevance, not only in Jewish tradition but also in Christian belief.
Its role in the historical narrative of Jewish culture is undeniable, with its influence stretching from the heart of Jerusalem to the far reaches of Rome. The interplay between these two great civilisations left an indelible impact on Jewish identity, a testament to the resilience of a people in the face of adversity.
As we ready ourselves to pass on the torch to the next generation of thinkers and creators, we remind them of the menorah's powerful symbolism. It stands as an eternal beacon of hope, a reminder of God's unfailing light that continues to shine, even amidst life's darkest trials. This knowledge, like the menorah's flame, is destined to be passed on from generation to generation, illuminating the path for those who dare to seek and understand.
No fortress could protect a light that was itself guarded by heaven’s armies of cherubim and seraphim. Through earthquakes, storms, and fires, the light burned relentlessly and unabated. Invading armies came and went, occasionally carrying off the menorah into exile to faraway lands. But did the light ever fail to burn due to the sweep of empires waxing and waning over time? Can any nomadic tribe of horse lords claim to have "snuffed out that light"? What new technology employed by the Babylonians, Persians, or Greeks had that honour? Not even the Romans, not Vespasian, not Titus, nor any pagan army could claim victory over the menorah by extinguishing its light.
But let me answer the question that may be on the minds of astute students of ancient Jewish antiquity: "Where is the menorah taken from Jerusalem by the Roman legionaries now?" It's a fair question, dear listener, but you may be barking up the wrong tree. There is no need to Google the answer, for none can be found. That physical menorah has been lost or melted down for gold a long time ago. Even if it were to be dug up in the sands of the Levant today, there are some things that can only come by revelation. It is important to understand that the true significance of the menorah lies not in its physical location, but rather in its symbolic meaning. The menorah represents a particular perspective that can be gleaned from reading the gospels, and is therefore a valuable hermeneutical tool. As researchers in the field of modality, we are intrigued by one of the oldest pieces of sacred art: the seven-branched menorah. It’s symbolism as an icon is also fascinating, both for the modern State of Israel and for us as believers in Yeshua today. However, as students of New Testament interpretation with a Southeast Asian background, our empirical knowledge of Jewish culture feels as distant as Greenland or the Russian steppes.
The iconography of the menorah is clear, immortalised by the relief carved onto the Titus arch. This arch marks the excavated remains of the triumphal route of all victorious armies, which carried the ensigns and banners of the most feared battle machine in antiquity. Roman legionnaires also carried artefacts from the battle back to the Imperial capital, along with prisoners of war, slaves, and other spoils of war. For Vespasian, this was his finest hour, and the future Caesar's infamous boast is now etched in time and stone, and in the memory of every Jew to this day.
The clash of civilisations between Jerusalem and Rome came to a terrifying climax in 70 AD. Predictions of the destruction of Jerusalem were circulating even during Jesus' day before his crucifixion, and rumours of his own resurrection added to the tension. Herod the Great and his army of Hebrew, Latin, and Greek-speaking priests were soon eclipsed by a brutal siege unlike anything the city of David had ever seen. Jerusalem found itself surrounded once again by pagan armies, well-equipped and technologically advanced, with all the latest weapons of mass destruction. In the end, Jerusalem was finished and had no chance against the might of Rome.
Steven Fine: "To conclude - from the Bible to the Arch of Titus the menorah is among the best-known artefacts of Jewish antiquity, a fact that in no way instills confidence that we know much about it...it is a history written in texts and in artefacts, with many, many holes in our knowledge along the way" (from Chapter 1, From Titus to Moses--and Back).
Menorah by Mart Henry Bongabong, Postcards from Israel, 2009.
The sack of Jerusalem had a profound impact on the Jewish people, leaving an indelible mark on their culture. The crushing of glass and the promise of "next year in Jerusalem" became a common refrain at weddings, representing a tragedy that had occurred and could happen again. The Titus Menorah, a symbol of the Temple, was carried overhead by Roman captors and their slaves as part of the war booty from Judea. This image became synonymous with the glories that the goddess Venus sang about at the feasts of the gladiatorial contests the night before. It was as if the God of the Hebrews had been defeated, unable or unwilling to protect the citizens of the City of God. The carrying of the Temple articles had transformed them into objects of ridicule, impotence, and disgrace.
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Arch of Titus Menorah depicts the fall of Jerusalem, AD 70. Rome
The Arch of Titus, situated southeast of the Roman Forum in Italy, was constructed in 81 AD by Emperor Domitian. It commemorates his father's triumph in the First Jewish-Roman War, which resulted in the destruction of the Second Temple in Jerusalem.
The arch, standing at 15.4 meters high and made from Pentelic marble, showcases a single archway framed by two ornately decorated columns. These columns carry a dedication to Titus. The carvings portray Titus' victory procession, featuring him in a chariot, soldiers carrying war loot, and the goddess Roma crowning Titus.
As a well-preserved example of Roman architecture, the arch has become a famous landmark in Rome. However, the stolen menorah depicted on the arch continues to be a potent symbol of Jewish identity and faith. The menorah's seven branches symbolize the seven days of creation and were used in the Temple to represent God's eternal light.
Steven Fine: From the construction of the Arch of Titus to the close of the 19th century, the menorah had a prominent place in Jewish iconography and thought, as it did for Samaritans, Christians, and, on occasion, Muslims. The potent symbol took numerous forms, yet was astonishingly consistent in form, even as the ways that it was fabricated and interpreted changed and served each of the many communities and places that sought out its light. As the twentieth century approached, however, this lampstand of biblical antiquity was ascribed with renewed significance among Jews. It became both a symbol for Jewish emancipation (literally "enlightenment"), liberalising Judaism, and Jewish nationalism - usually (but not always) Zionism - and sometimes all of these at the same time” (from Chapter 2 Flavian Rome to the Nineteenth Century).
The clash of civilisations between Jerusalem and Rome was a significant event that shaped Jewish history and culture to this day. It is amazing to see how the menorah has endured as a symbol of Jewish identity and faith, even through difficult times of persecution and exile. As Christian believers in Yeshua, we also recognise the significance of the menorah in our faith. It reminds us of the Holy Spirit and the role of revelation in Christian iconography, as represented by the menorah. This is a great reminder of the rich history and deep meaning behind the symbols we use in our faith.
Steven Fine: "The Arch of Titus menorah is the starting point and focal point of this study...The Arch of Titus menorah provides a leitmotif for the entire study, beginning with the origins of the menorah in the biblical world, to the life of the menorah between the terrible destruction of Jerusalem in 70 CE and the dawn of the modern world, and continuing from there to the modern biography of this symbol, shaped by the choice of the Arch of Titus menorah as the "symbol" of the State of Israel in 1949. The arch menorah is poised between the ancient and the medieval, the modern and whatever comes next. With Shelley, we can indeed say that the menorah is "in between dream and a memory”