Merkabah - Hekhalot Literature

Hekhalot Literature

The main interests of Hekhalot literature are accounts of mystical ascents into heaven, divine visions, and the summoning and control of angels, usually for the purpose of gaining insight into Torah. The locus classicus for these practices is the biblical accounts of the Chariot vision of Ezekiel and the Temple vision of Isaiah (Chap. 6). It is from these, and from the many extra-canonical apocalyptic writings of heavenly visitations, that hekhalot literature emerges. Still, it is distinctive from both Qumran literature and apocalyptic writings for several reasons, chief among them being that hekhalot literature is not at all interested in eschatology, largely ignores the unique status of the priesthood, has little interest in fallen angels or demonology, and it "democratizes" the possibility of divine ascent.

In their visions, these mystics would enter into the celestial realms and journey through the seven stages of mystical ascent: the Seven Heavens and seven throne rooms. Such a journey is fraught with great danger, and the adept must not only have made elaborate purification preparation, but must also know the proper incantations, seals and angelic names needed to get past the fierce angelic guards, as well as know how to navigate the various forces at work inside and outside the palaces.

This heavenly ascent is accomplished by the recital of hymns, as well as the theurgic use of secret names of God which abound in the Hekhalot literature. The Hekalot Zutarti in particular is concerned with the secret names of God and their powers:

This is his great name, with which Moses divided the great sea: .בשובר ירברב סגי בדסיקין מרא סחטי בר סאיי לבים This is his great name which turned the waters into high walls: אנסיהגמן לכסם נעלם סוסיאל ושברים מרוב און אר אסמוריאל סחריש בי?ו אנמם כהה יהאל.

At times, heavenly interlocutors will reveal divine secrets. In some texts, the mystic’s interest extends to the heavenly music and liturgy, usually connected with the angelic adorations mentioned in Isiah 6:3. The mantra-like repetitive nature of the liturgies recorded in many of these compositions seems meant to encourage further ascent. The ultimate goal of the ascent varies from text to text. In some cases, it seems to be a visionary glimpse of God, to "Behold the King in His Beauty." Others hint at "enthronement," that the adept be accepted among the angelic retinue of God and be given an honored (god-like?) seat. One text actually envisions the successful pilgrim getting to sit in God's "lap." Scholars such as Peter Schaefer and Elliot Wolfson see an erotic theology implied in this kind of image, though it must be said sexual motifs, while present in highly attenuated forms, are few and far between if one surveys the full scope of the literature.

Literary works related to the Hekhalot tradition that have survived in whole or in part include Hekhalot Rabbati (or Pirkei Hekhalot), Hekhalot Zutarti, 3rd Enoch (also known as "Hebrew Enoch"), and Maaseh Merkabah. In addition there are many smaller and fragmentary manuscripts that seem to belong to this genre, but their exact relationship to Maaseh Merkabah mysticism and to each other is often not clear (Dennis, 2007, 199-120).