web analytics
August 22, 2014 / 26 Av, 5774
Israel at War: Operation Protective Edge
 
 
At a Glance
Sections
Sponsored Post
Jerusalem Mayor Nir Barkat (L) visits the JewishPress.com booth at The Event. And the Winners of the JewishPress.com Raffle Are…

Congratulations to all the winners of the JewishPress.com raffle at The Event



Home » Sections » Arts »

Jewish Depictions Of Hell


Wecker-Menachem

Although it’s the Hebrew month of MarCheshvan—known as “mar” or bitter, because it’s devoid of holidays, unlike the preceding month which has the High Holidays and Sukkot, and the next month which ushers in Chanukah—that’s not why I’ve been thinking about hell (gehinnom in Hebrew) a lot lately. In fact, I co-wrote an e-book recently with New York-based lawyer and author Joel Cohen called Gehinnom: A Conversation in Hell. (The book, which is available for free download at www.joelcohengehinnom.com, is a work of fiction, or creative non-fiction. The characters come from the Bible: Cain, Korah, Saul, Balaam, Miriam. But the dialogue is imagined.)

The characters in the book cling in death to the same philosophies and self-awareness (or lack thereof) that they embodied in life. One by one, the characters enter a conversation in “a dark, dank, forgotten cave,” where they have to trust each other’s disembodied voices, since they cannot see each other. The characters (with the exception of Miriam and a young man who later surfaces) team up on one another and expose jealousies, hatred, self-righteousness, and a confusing—and thus, distinctly human!—blend of emotions. Of course, the lines the characters deliver have little to do with what the figures might actually have believed and felt, and everything to do with what Cohen and I believe they might have believed. For such is the stuff of art, and the majority of the artistic canon is fictive—even the works that purport to be “realistic.”

Haggadah shel Pesach (with interpretation of Abrabanel). Hayim ben Tsevi Hirsh. Fürth: 1755.

Surely, one can imagine countless works of Christian art that depict demons torturing lost souls, grim reapers with scythes, and flaming depictions of hell. It’d be foolish to suggest that Jewish art has anywhere near such a prominent tradition of depicting gehinnom, and it’s not my intention to do so here. But many readers of this column probably have a pretty good sense that the Christian apocalyptic traditions of representing demons and eternal punishment for sinners have their origins in Jewish texts.

Some of the Jewish sources include the Mishnah in Gemara Sanhedrin (10:1), which addresses the statement that “everyone in Israel” has a portion in the World to Come. If the Mishnah goes out of its way to specify that everyone “in Israel” has a portion in heaven, surely there must be some who have no portion, the rabbis argue, so they compile a list: those who deny the resurrection of the dead, those who say the Torah isn’t divinely delivered, and those who are apikorsim, or heretics. Rabi Akiva adds that those who read “sfarim chitzonim”—“outside” books—also have no heavenly portion, nor do those who whisper (incantations) over a wound. Finally, Abba Shaul adds that those who recite God’s name as written also will not merit eternal reward. The Mishnah also adds a list of particular individuals and groups who have no heavenly portion, including the kings Jeroboam, Ahab, and Menashe (though Rabi Judah says Menashe was forgiven and did merit reward), Balaam, Doeg (who killed 85 priests), Ahithophel (who led Absalom astray, to say the least), and Gehazi, who disobeyed Elisha.

There are also chassidic traditions surrounding gehinnom. The Apta Rebbe (Rav Avraham Yehoshua Heshel of Apt, 1748-1825) famously said that as a sinner he’d be sent to gehinnom, but being unable to endure the sinners, God would have to send them out. His idea was to ensure that he’d be the only one there, a strategy that the Ropshitzer Rebbe—Rav Naftali Zvi of Ropshitz, 1760-1827—also embraced. The latter figured that gehinnom empties out during the Shabbat, and that any sinner who had visited the Rebbe’s house on Shabbat while alive, ought to be able to visit his table in heaven. And what a foolish man the Rebbe would be to let the sinner be returned to gehinnom at nightfall, the Ropshitzer Rebbe said.

About the Author: Menachem Wecker, who blogs on faith and art for the Houston Chronicle at http://blogs.chron.com/iconia, welcomes comments at mwecker@gmail.com.


If you don't see your comment after publishing it, refresh the page.

Our comments section is intended for meaningful responses and debates in a civilized manner. We ask that you respect the fact that we are a religious Jewish website and avoid inappropriate language at all cost.

If you promote any foreign religions, gods or messiahs, lies about Israel, anti-Semitism, or advocate violence (except against terrorists), your permission to comment may be revoked.

No Responses to “Jewish Depictions Of Hell”

Comments are closed.

SocialTwist Tell-a-Friend

Current Top Story
Photo: Rotter.net / Tikonist
Live Updates: Ashdod Shul Hit by Rocket (Latest Update: 5:28 pm)
Latest Sections Stories
Teens-082214

As they fall upon us we go
To the WALL.

Twenties-082214-Girls

One minute you’re shaving shwarma off a pit, then the shwarma guy tells you he read a (fake) WhatsApp that the boys are dead.

Lewis-082214-Gaon

I probe a little deeper and Shula takes me into the world of phantom pains and prosthetic limbs.

Astaire-082214-Main

This went on until she had immersed eighty times, and then Hashem at last took pity upon her.

Because Menachem lives in Israel, he can feel the ruach in the air.

Perhaps you can reach a compromise during this news frenzy, whereby you will feel more comfortable while he can still follow the latest events.

Leon experienced the War of Independence from a soldier’s perspective, while remaining true to his Jewish ideals and beliefs.

Chabad of Arizona centers recently hosted an evening of remembrance to mark the 20th yahrzeit of the Lubavitcher Rebbe.

A CPE class at Kingsbrook Jewish Medical Center in Brooklyn was tailor made for Orthodox participants.

“I didn’t choose the landscape; it chose me.”

Woe to us that we have to be put to death like common heathen and murderers!

More Articles from Menachem Wecker
Menachem Wecker

The exhibit, according to a statement from guest curator Michele Waalkes which is posted on the museum website, “examines how faith can inform and inspire artists in their work, whether their work is symbolic, pictorial, or textual in nature. It further explores how present-day artwork can lead audiences to ponder God, religious themes, venerated traditions, or spiritual insights.”

Weck-051812

It all started at an art and education conference at the Yeshiva University Museum. When one of the speakers misidentified a Goya painting at the Frick Collection, both the gentleman sitting next to me and I turned to each other and corrected the error simultaneously.

One of my favorite places when I was growing up in Boston was the used bookstore on Beacon and St. Mary’s streets. Boston Book Annex could play a used bookshop on television; it was dimly lit and cavernous, crawling with cats, and packed with a dizzying array of books, many of which sold three for a dollar. But used bookstores of this sort, however picturesque and inviting, are a relatively modern phenomena. In the Middle Ages, for example, I would never have been able to afford even a single used book unless I had been born into an aristocratic family. (Full disclosure, I was not.)

Jewish medals, several with Hebrew inscriptions and provocative imagery, were among the gems at The European Art Fair (TEFAF) in Maastricht, Netherlands, as I wrote in these pages two weeks ago. Another mini-trend at the fair, which will interest Jewish art aficionados, was an abundance of works by Marc Chagall.

It’s virtually impossible to ignore the financial aspects of TEFAF Maastricht, the annual arts and antiques fair in the historic city about two hours south of Amsterdam. More than 250 dealers from nearly 20 countries sell their wares—which span from Greek and Roman antiquities to contemporary sculptures—in the halls of the Maastricht Exhibition and Congress Centre, whose corridors are adorned by nearly 65,000 tulips.

Max Ferguson’s 1993 painting Katz’s may be the second most iconic representation of the kosher-style delicatessen after the 1989 Billy Crystal and Meg Ryan film, When Harry Met Sally. Ferguson’s photorealistic painting depicts the deli from an interesting perspective, which is simultaneously inviting and hostile—in short, the dichotomy of deli culture.

The whole idea of an artful pushka (tzeddakah or charity box) is almost a tease, if not an outright mockery. Isn’t there something pretty backward about investing time and money in an ornate container to hold alms for the poor?

Located about nine miles north of Madrid, the Palacio Real de El Pardo (Pardo Palace) dates back to the early 15th century. Devastated by a March 13, 1604 fire that claimed many works from its priceless art collection, the Pardo Palace and its vast gardens were used as a hunting ground by the Spanish monarchs.

    Latest Poll

    Do you think the FAA ban on US flights to Israel is political?






    View Results

    Loading ... Loading ...

Printed from: http://www.jewishpress.com/sections/arts/jewish-depictions-of-hell/2011/11/16/

Scan this QR code to visit this page online: