Img. ID: 438870

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 Ilan Aroch is a scroll that was prepared by some scholars of the kabbalah, apparently as a sort of guide to their studies of the discipline, a visual representation of some of the kabbalistic ideas and concepts.  These scrolls are exceedingly rare and many of them differ, one from the other, in their details, according the particular interpretation and understanding of the individual. This particular scroll is according the school of Ha'ari and the writing of rabbi Israel Saruk. This scroll uses a very fine cursive eastern European Ashkenazi script, and such Ashkenazi scrolls are less common than the Sephardi scrolls. This is an early19th century example from the hand of a scribe/scholar who, in the fine design, had the eye of an artist as well. The scroll is not complete in the original script and was later finished by another hand on a parchment section of lesser width. There are sections of the Ilan that indicate Sabbatean influence. Both sections are written on cow skin, the first part of two sections and the second part of four sections.

                                    Scroll# 2 - 11 frames [many quite striking] (028.012.005) date ? East Europe, neo-Sabbatean [?] parchment ink written sewn - frame 6-11, in different hand [frames 1-5, filmed in 1992 for JNUL = F-49140 and Gross # 218]; fr. 1-5=28X134cm[prt. 2] 6-11= 24. 5X181cm

                                    1.       Olam haGelifu [='primordial engraving' -"At the head of the potency of the King, He engraved engravings (Gelifu) in the luster on high (Tehiru Ila'ah)"- Zohar 1:15a]  - concentric circles, and four central circles of primordial elements

                                    2.       Tehiru [primordial purity, space] - 2 squares within the circle; bottom square, kelipot [obscurations], indicating Sabbatian influence [compare G. Busi, Qabbalah Visiva (Einaudi Editore, Torino, 2005) p. 418, from Nathan Gaza, and see Sharei Gan Eden 1:5,  and compare re 'lower Tehiru', in scroll # 4 frame 1 from school of Besht; different]

                                    3.       Another form describing the above [1 and 2] 'regions'

                                    4.       World of Malbush - different block-forms of the 231 binary permutations [of the 22 letters]; upper half of Adam Kadmah Stima [undisclosed Primordial Adam=the primordial root of A"K]

                                    5.       Entire frame of Avira Kadmah [primordial aether] and Adam Kadmaah Stima

                                    6.       Adam Kadmon to Arikh Anpin [very anthropomorphic; different hand; up to the upper chest, followed by 17 lines of writing-approx. 40 words per, describing the lower interpenetrations, with emphasis on transfer of Mokhin [consciousness], numerous quotes from Etz Hayim]

                                    7.       Arikh Anpin [Great Countenance] and its Tikkunim [inner interrelations-engarmenting] to Yesod [Foundation] [no Malkhut [Sovereignty - see R"H Vital, Perush Idra Zuta]

                                    8.       7 Partzufim [Countenances-Faces]: Abba Imma Yisrael Sabba uTevunah Yaakov, Rachel Leah

                                    9.       Yaakov and Rachel, and below, recapitulation from Adam Kadmon to Abba vImma

                                    10.      Engarmentations; Arikh-Abba vImma-to Yesod of Yisrael Sabba uTevunah

                                    11.      Three lower Partzufim engarment [the higher Partzuf] Yisrael Sabba uTevunah [i.e. only Atzilut, no descent to Beriah Yetzirah Assiah (creation-conception-mind; formation-energy-emotion; action-physical maniFeztation-actual presence)=BYA]