Obj. ID: 45419
Hebrew Illuminated Manuscripts  Ilan Aroch, Fes (Fez), 1888

The following description was prepared by William Gross:

 Kabbalistic diagrams resembling Porphyrian trees have been known at least since the sixteenth century as “Ilanot” [Heb. pl. Arborae; sing. "Ilan"]. [First such reference known to me is in the work of Guillaume Postel, who refers to "Ilanoth" as a genre of rabbinic literature.] Ilanot constitute visual representations of kabbalistic cosmologies from the relatively simpler forms of the thirteenth century to the far more complex and ramified systems in Lurianic Kabbalah from the sixteenth century onward. The increasing complexity of cosmic trees between the thirteenth and eighteenth centuries directly reflects the exponential ramification of kabbalistic theosophy that took place over those centuries. Given the overwhelmingly visio-spacial conceptions of the divine in its evolutionary “becoming” in these mystical traditions, Ilanot could serve as cosmic maps. This divine cartography aspired to capture the syncronic interrelations between the various facets of the godhead and creation as well as their diachronic, evolving emergence.

What’s an Ilan? Any synoptic diagrammatic presentation of kabbalistic cosmology. The basic graphical forms could range from the arboreal to the boldly anthropomorphic. Lurianic Ilanot, in their lengthy and complex presentations, often feature both, as well as spreadsheet-like tables. The iconic decadal tree is an Ilan, as is the intricately Baroque Hammerschlag Ilan. Diagrams expressing particular concepts within a larger framework, such as the illustrations that frequently accompany certain cosmogonic discussions in the Lurianic corpus, would doubtfully have been called ilanot by anyone. However simple or complex the pictorial-diagrammatic features of an Ilan, extensive textual material is frequently embedded in and around the geometrical forms. The texts may be paraphrastic chapter headings, original compositions, or the study notes of a student. Their connection to the pictorial features alongside which they appear is usually clear, with the text providing a verbal key to the quality or process depicted graphically. That said, in complex Ilanot, simple keying gives way to more complex and even inscrutable connections. Indeed, these manuscripts demand to be treated as “integrated systems of communication” that raise “questions about how verbal and visual patterns of meaning were constructed, combined, and modified.”

The colophon of this Ilan states that it was done in 1587, although several aspects of it lead to a later dating conclusion, most likely in 1887, in the city of Fez. The letter "Shin" which here is the abbreviation for "Shnat" (the year), is also to be calculated as part of the date. The great majority of Ilanot are neither dated nor placed. This scroll was written on ten sections of paper that are glued together.

 Scroll # 11 - 11 frames  (028.011.004) Fez, 1888 [3&348= 648=1888] no info on dimensions [not like prt. 1 [prt. 8?] - the kavim of # 2&3 may indicate RH"V as in RM Poppers in Or Zarua!]

1.         Hakdamah - a short poem unknown, in sq letters, then from Etz Hayim 1:1 re mah lifnim etc. [taktzir from beg. SfhD and ibid Adam Yashar]

2.         A"K as 17 concentric circles, from En-Sof to Assiah

3.         Iggulim and Yosher of A"K - again; from A"K to Assiah

4.         Head of Tetrg of 45 of A"K as root Sefirot

5.         7 lower Sefirot of A"K engarmenting Atika

6.         Arikh Anpin

7.         Ibid. descending to Abba vImma

8.         Abba vImma, YisS and Tev. Zeir and Leah

9.         Yaakov and Rachel, then Olam haBeriah as the angels of vowels, 32 paths and Sekhalim

10.       Olam haYetzirah and the Heichalot [!], then the top 3 of Assiah and the Heichalot of Tumah

11.       Cont'd, then daemon names, and then Berit Menucha's vocalizations of the Tetrag. And accompanying angels. Date,  Fez, 5648 [1888]