I walk by an upscale furniture store. In front is a small sculpture of two cherubs, two young nearly naked boys holding grapes and either apples or pomegranates with a dog at their feet. They look like they are enjoying life. Why shouldn’t they be? They have plenty to eat and a dog to play with. What more could a young boy want? Cherubs have been prominent in art for centuries. They are definitely not a modern art form. I have not seen the Sistine Chapel. But I have seen reproductions of Raphael’s cherubs from the ceiling. They are very popular and show up on everything from T-shirts to notecards. So, settle back, relax and learn some more about a traditional art form.
According to Wikipedia, a cherub — plural cherubim — is likely borrowed from a derived form of Akkadian karābu "to bless" and is one of the unearthly beings who directly attend to God in Abrahamic religions. The numerous depictions of cherubim assign to them many different roles, such as protecting the entrance of the Garden of Eden.
In Jewish angelic hierarchy, cherubim have the ninth (second-lowest) rank in Maimonides' 12th century Mishneh Torah, and the third rank in Kabbalistic woks such as the 14th century Berit Menuchah.
In the Book of Ezekiel and at least some Christian icons, the cherub is depicted as having two pairs of wings and four faces, representing the four fixed signs and their elements — lion (Leo, fire), ox (Taurus, earth), human (Aquarius, air) and eagle (Scorpio, water). Their legs were straight, the soles of their feet like the hooves of a bull, gleaming like polished brass. Later, tradition ascribes to them a variety of physical appearances. Some early midrashic literature conceives of them as non-corporeal. De Coelesti Hierarchia places them in the highest rank alongside Seraphim and Thrones. In Western Christianity, cherubim have become associated with the putto, which is derived from images of Cupid, resulting in depictions of cherubim as small, plump, winged boys.
The cherubim are the angels closest to God in Islam. Joseph von Hammer-Purgstall noted Rūh as one of the most noble among the cherubim. Others are the Bearers of the Throne or the archangels. In Ismāʻīlism, there are seven cherubim, comparable to the Seven Archangels.
Origins and etymology
Mythological hybrids are common in the art of the Ancient Near East. One example is the Babylonian Lamassu or shedu, a protective spirit with a sphinx-like form, possessing the wings of an eagle, the body of a lion and the head of a king. This was adopted largely in Phoenicia. The wings, because of their artistic beauty, soon became the most prominent part, and animals of various kinds were adorned with wings; consequently, wings were bestowed also upon man, thus forming the stereotypical image of an angel. William F. Albright in 1938 argued that "the winged lion with human head" found in Phoenicia and Canaan from the Late Bronze Age is "much more common than any other winged creature, so much so that its identification with the cherub is certain."
A possibly related source is the human-bodied Hittite griffin, which, unlike other griffins, appear almost always not as a fierce bird of prey, but seated in calm dignity, like an irresistible guardian of holy things; some have proposed that the word griffin may be cognate with cherubim. The traditional Hebrew conception of cherubim as guardians of the Garden of Eden is backed by the Semitic belief of beings of superhuman power and devoid of human feelings, whose duty it was to represent the gods, and as guardians of their sanctuaries to repel intruders; these conceptions in turn are similar to an account found on Tablet 9 of the inscriptions found at Nimrud. It has been suggested that the image of cherubim as storm winds explains why they are described as being the chariot of Yaweh in Ezekiel's visions, the Books of Samuel, the parallel passages in the later Books of Chronicles and passages in the early Psalms: for example "and he rode upon a cherub and did fly: and he was seen upon the wings of the wind." In particular, in a scene reminiscent of Ezekiel's dream, the Megiddo Ivories depict an unknown king being carried on his throne by hybrid winged creatures.
Delitzch connects the name with Assyrian kirbu (a name of the shedu) and karabu ("great, mighty"). Karppe in 1897 glosses Babylonian karâbu as "propitious" rather than "mighty". Dhorme in 1926 connected the Hebrew name to Assyrian kāribu, a term used to refer to intercessory beings and statues of such beings that plead with the gods on behalf of humanity.
Hebrew Bible
The cherubim are the most frequently occurring heavenly creature in the Hebrew Bible, as the Hebrew word appears 91 times. The first occurrence is in the Book of Genesis 3:24. Despite these many references, the role of the cherubim is never explicitly elucidated. While Hebrew tradition must have conceived of the cherubim as guardians of the Garden of Eden in which they guard the way to the Tree of life, they are often depicted as performing other roles; for example in the Book of Ezekiel, they transport Yahweh's throne. The cherub who appears in the "Song of David," a poem which occurs twice in the Hebrew Bible, in 2 Samuel 22:11 and Psalm 18:10, participates in Yahweh's theophany and is imagined as a vehicle upon which the deity descends to earth from heaven in order to rescue the speaker.
In Exodus 25:18–22, God tells Moses to make multiple images of cherubim at specific points around the Ark of the Covenant. Many appearances of the words cherub and cherubim in the Bible refer to the gold cherubim images on the mercy seat of the Ark, as well as images on the curtains of the Tabernacle and in Solomon’s Temple, including two measuring ten cubits high. The mercy seat was the gold lid placed on the Ark of the Covenant, with two cherubim beaten out of the ends to cover and create the space into which Yahweh was said to appear.
In Isaiah 37:16, Hezekiah prays, addressing God as "enthroned above the cherubim" — referring to the mercy seat. In regards to Solomon's Temple as described in 1 Kings, Eichler renders the phrase yoshev ha-keruvim as “who dwells among the cherubim.” This phrase is the same in 1 Kings and Isaiah. Eichler's interpretation in contrast to common translations for many years that rendered it as “who sits upon the cherubim.” This has implications for the understanding of whether the ark of the covenant in the Temple was literally Yahweh's throne or simply an indicator of Yahweh's immanence.
Cherubim feature at some length in the Book of Ezekiel. While they first appear in chapter one, in which they are transporting the throne of God by the river Chebar, they are not called cherubim until chapter 10. In Ezekiel 1:5–11 they are described as having the likeness of a man, and having four faces: that of a man, a lion (on the right side), an ox (on the left side) and an eagle. The four faces represent the four domains of God's rule: the man represents humanity; the lion, wild animals; the ox, domestic animals; and the eagle, birds. These faces peer out from the center of an array of four wings; these wings are joined to each other, two of these are stretched upward, and the other two cover their bodies. Under their wings are human hands; their legs are described as straight, and their feet like those of a calf, shining like polished brass. Between the creatures glowing coals that moved between them could be seen, their fire "went up and down," and lightning burst forth from it. The cherubs also moved like flashes of lightning.
In Ezekiel chapter 10, another full description of the cherubim appears with slight differences in details. Three of the four faces are the same — man, lion and eagle — but where chapter one has the face of an ox, Ezekiel 10:14 says "face of a cherub." Ezekiel equates the cherubim of chapter ten with the living creatures of chapter one: "They were the same creatures I had seen by the river Chebar" (Ezekiel 10:15) and "These were the living creatures I had seen under the God of Israel on the banks of the river Chebar" (Ezekiel 10:20). In Ezekiel 41:18–20, they are portrayed as having two faces, although this is probably because they are depicted in profile.
In Judaism
n rabbinic literature, the two cherubim are described as being human-like figures with wings, one a boy and the other a girl, placed on the opposite ends of the mercy seat in the inner-sanctum of God's house. The figures painted on the walls of the Herodian reconstruction of the Temple were are called "cherubim" in the Babylonian Talmud.
Many forms of Judaism include a belief in the existence of angels, including cherubim within the Jewish angelic hierarchy. The existence of angels is generally accepted within traditional rabbinic Judaism. There is, however, a wide range of beliefs within Judaism about what angels actually are and how literally one should interpret Biblical passages associated with them.
In Kabbalah there has long been a strong belief in cherubim, the cherubim and other angels regarded as having mystical roles. The Zohar — a highly significant collection of books in Jewish mysticism — states that the cherubim were led by one of their number named Kerubiel.
On the other end of the philosophical spectrum is Maimonides, who had a neo-Aristotelian interpretation of the Bible. Maimonides writes that to the wise man, one sees that what the Bible and Talmud refer to as "angels" are actually allusions to the various laws of nature; they are the principles by which the physical universe operates.
For all forces are angels! How blind, how perniciously blind are the naive?! If you told someone who purports to be a sage of Israel that the Deity sends an angel who enters a woman's womb and there forms an embryo, he would think this a miracle and accept it as a mark of the majesty and power of the Deity, despite the fact that he believes an angel to be a body of fire one-third the size of the entire world. All this, he thinks, is possible for God. But if you tell him that God placed in the sperm the power of forming and demarcating these organs, and that this is the angel, or that all forms are produced by the Active Intellect; that here is the angel, the "vice-regent of the world" constantly mentioned by the sages, then he will recoil.– The Guide for the Perplexed II:4
For he [the naive person] does not understand that the true majesty and power are in the bringing into being of forces which are active in a thing although they cannot be perceived by the senses... Thus, the Sages reveal to the aware that the imaginative faculty is also called an angel; and the mind is called a cherub. How beautiful this will appear to the sophisticated mind, and how disturbing to the primitive." – The Guide for the Perplexed II:6.
Maimonides says that the figures of the cherubim were placed in the sanctuary only to preserve among the people the belief in angels, there being two in order that the people might not be led to believe that they were the image of God.
Cherubim are discussed within the midrash literature. The two cherubim placed by God at the entrance of paradise (Gen. iii. 24) were angels created on the third day, and therefore they had no definite shape; appearing either as men or women, or as spirits or angelic beings. The cherubim were the first objects created in the universe. The following sentence of the Midrash is characteristic: "When a man sleeps, the body tells to the neshamah (soul) what it has done during the day; the neshamah then reports it to the nefesh (spirit), the nefesh to the angel, the angel to the cherub, and the cherub to the seraph, who then brings it before God" (Leviticus Rabbah xxii.; Eccl. Rabbah x. 20).
In early Jewish tradition there existed the notion that cherubim had youthful, human features, due to the etymologization of the name by Abbahu (third century). Before this, some early midrashic literature conceived of the cherubim as non-corporeal. In the first century AD, Josephus claimed: "No one can tell, or even conjecture, what was the shape of these Cherubim."(Antiquities:8:73).
A midrash states that when Pharaoh pursued Israel at the Red Sea, God took a cherub from the wheels of His throne and flew to the spot, for God inspects the heavenly worlds while sitting on a cherub. The cherub, however, is "something not material," and is carried by God, not vice versa.
In the passages of the Talmud that describe the heavens and their inhabitants, the seraphim, ofannim and living creatures are mentioned, but not the cherubim; and the ancient liturgy also mentions only these three classes.
In the Talmud, Jose the Galilean holds that when the Birkat Hamazon (grace after meals) is recited by at least 10,000 seated at one meal, a special blessing, "Blessed is Ha-Shem our God, the God of Israel, who dwells between the Cherubim," is added to the regular liturgy.
In Christianity
In medieval theology, following the writings of Pseudo-Dionysius, the cherubim are the second highest rank in the angelic hierarchy, following the seraphim.
Cherubim are regarded in traditional Christian angelology as angels of the second highest order of the ninefold celestial hierarchy. De Coelesti Hierarchia (c. 5th century) lists them alongside seraphim and thrones, a class of angels based on an interpretation of Colossians 1:16. According to 1 Peter 3:21-22, Christ had gone to Heaven and "angels and authorities and powers" had been made subject to him.
In Western art, cherubim became associated with the putto and the Greco-Roman god Cupid/Eros, with depictions as small, plump, winged boys.
Artistic representations of cherubim in Early Christian and Byzantine art sometimes diverged from scriptural descriptions. The earliest known depiction of the tetramorph cherubim is the 5th–6th century apse mosaic found in the Thesalonian Church of Hosios David. This mosaic is an amalgamation of Ezekiel's visions in Ezekiel 1:4-28, Ezekiel 10:12, Isaiah’s seraphim in Isaiah 6:13 and the six-winged creatures of Revelation from Revelation 4:2-10.
In Islam
Cherubim in Islam are usually identified either with a class of angels, dwelling in the sixth heaven or the angels around the Throne of God. The latter include the canonical four Islamic archangels Gabriel, Michael, Azrael and Raphael, and additionally four more called Bearers of the Throne, a total of eight cherubim. In the Quran, they are also identified with the mugarrabūn "those drawn close" in An-Nisa, 172 and are also attested throughout Islamic literature such as Mirah literature and Qisas Al-Anbiya.
The cherubim around the throne are continuously praising God with the tasbih: "Glory to God!" They are described as bright as no one of the lower angels can envision them.
The Sistine Cherubs
According to the October 30, 2012 article “Finished – Raphael’s Angels” at Topolski Fine Arts, Raphael’s Angels are a famous duo by Raffaello Santi (1483-1520) or simply Raphael. Raphael was an Italian Renaissance artist and considered one of the greatest artists of all time. He is part of the Trinity of Great Masters that includes Michelangelo and Leonardo Da Vinci.
Raphael’s Angels are also known as “The Sistine Cherubs” and “Raphael’s Two Putti.” Raphael’s Angels are seen at the bottom of Raphael’s great masterpiece “The Sistine Madonna.” The Sistine Madonna depicts Mary with Christ child and two Saints, Sixtus and Barbara, in the clouds with the two cherubs looking up at Madonna with Child.
This legendary Sistine Madonna is large oil on canvas — 104 inches × 77 inches. This painting was created between 1512 and 1513 on a flax-covered wall in the Benedictine monastery church of San Sisto. Finished a few years before his death, ca. 1513–1514, as a commissioned altarpiece, it was the last of the painter’s Madonnas and the last painting he completed with his own hands. It was later sold to the King of Poland by monks in 1752 for 25,000 scudi. Enough to build a whole town at that time! Later during World War II, the Sistine Madonna was taken by Hitler and vaulted to protect it from Allied bombing. After the war, the Sistine Madonna was taken to Russia where Stalin had it vaulted as well. In the late 1950s, the painting was returned to Germany where it resides to this day in Dresden, in the Old Master Gallery — Gemäldegalerie Alte Meister.
The painting has been highly praised by many notable critics, and Giorgio Vasari called it a “a truly rare and extraordinary work.” It’s amazing to see that even Hitler and Stalin recognized it as a great work of art or at least of great value.
Putti
According to Wikipedia, a prominent element within the painting, the winged angels beneath Mary are famous in their own right. The angels of this nature are known as putti and are commonly conflated with — and erroneously referred to as — cherubim. As early as 1913 Gustav Kobbé declared that "no cherub or group of cherubs is so famous as the two that lean on the altar top indicated at the very bottom of the picture." Heavily marketed, they have been featured in stamps, postcards, T-shirts, socks and wrapping paper. These putti have inspired legends of their own. According to a 1912 article in Fra Magazine, when Raphael was painting the Madonna, the children of his model would come in to watch. Struck by their posture as they did, the story goes, he added them to the painting exactly as he saw them. Another story, recounted in 1912's St. Nicholas Magazine, says that Raphael rather was inspired by two children he encountered on the street when he saw them "looking wistfully into the window of a baker's shop."
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