The names of Twelve Tribes, which appear in various configurations throughout the Torah, have many important symbolic ramifications according to the Rabbis. This is particularly evident in their inscription on the gemstones of the Choshen or breastplate of the High Priest, where the order and the spelling of the tribes is according to their first appearance in the Torah at the birth of each of the brothers. The total number of the Hebrew letters of all the tribes (as inscribed) adds up to fifty, which is a seminal number, associated with the counting of the Omer and the 50 gates of Understanding. The major purpose of the inscribed names was to serve as a communicating instrument between God and the Jewish people, the oracular Orim and Toomim. Important questions of great consequence to the nation, such as whether to wage war, would be submitted by the High Priest and answers would be received as specific illuminated letters on the Choshen. Since the Torah is eternal and applies to all times and states of being, it is my suggestion that one's meditation on the letters of the Twelve Tribes should have an efficacy, particularly when one confronts difficult crossroads in one's life. And if one does this in a state of prayer in one's own "inner" Temple, enlightened answers are possible.
The following are some possible correspondences which I have found to the Twelve Tribes and the gem stones. The viewer is invited to continue further.
REUVAN was inscribed on the Ah-dem, "the red stone" which all commentators agree is the ruby, and the basis for the painting's palette. The name Ah-dem is related to Adam, or man, which corresponds to the Dudaim or "mandrakes" which Reuvan gave to his mother Leah. The mandrakes were also on the desert banner of Reuvan and can be found in the painting. The ruby and the mandrakes have been credited with having the power to aid fertility. This implies in the spiritual dimension to make "chidushim", new creative discoveries and is also connected with another aspect of Reuvan's name, which implies "ree-ya" or far vision, hinted by the otherworldly landscape of the painting.
SHIMON was inscribed on the Pitdah, which some commentators translate as the emerald. While there is a green refraction in the painting, its main inspiration seems to be derived from the desert banner of Shimon, which showed the city of Sechem ensconced between the mountains. The ear shape or sound wave format of picture also hints at the meaning of the Hebrew word Shimon, which is connected to hearing, the inner hearing of the still voice of the soul.
LEVI was inscribed on the Bareket, which some commentators translate as a scintillating crystal, suggesting lightening. Symbolically, this applies to the power to be enlightened and enlighten with Torah studies, which was a special attribute of the tribe. The desert banner of Levi contained three colors - red, white and black - and included a section of the specially woven garments of the priests and the levites.
JUDAH was inscribed on the Nofech, which some commentators believe was a bluish- green carbuncle. The gem is said to have an efficacy in achieving victory over one's enemies, internal and external, which is a primary attribute of Kingdom, as well as the Baal Tsuvah, the Repenter, both of which are associated with Judah. The desert banner of Judah contained a picture of a crouching lion and a gestalt of its profile may be discerned in the painting.
ISACHAR was inscribed on the Sapir, which commentators believe may be a sapphire of a deep blue tint, the color of the pure sky, since this tribe was known for the excellence of its Torah and astronomical studies. In the midst of this gem, one was able to see a form of a dark cloud, suggesting the receiving of the Torah at Sinai. The desert banner of Isachar contained a drawing of a donkey, which hints at the tribe's ability to carry the heavy load of the Torah.
ZEVULUN was inscribed on the Yahalom, which commentators believe was not a diamond, as its modern Hebrew translation, but rather a pearl, which is, of course, only found in the depths of the sea and thus appropriate for this sea-faring tribe. These ideas are expressed by the pearly and ocean wave texture of the painting.
DAN was inscribed on the Leshem, which some commentators believe was a topaz. It is said that this stone has "inverted" faces to hint at the fact that from this tribe came many judges, who had to show impartiality in judgment to the rich and the poor. Thus the picture can be inverted to reveal sets of upside-down faces. The banner of Dan also showed a snake and a suggestion of snake scales may also be detected.
NAFTALI was inscribed on the Shevoh, which may be a turquoise stone. The banner of Naftali showed a antlered deer on a wine-colored background, because the tribe is described in the Torah, as a fleeting hind, suggesting dispatch and avidity in performing the commandments.
GAD was inscribed on the Achlama, which some commentators define as a crystal in the form of a calf's eye which was believed to prevent cowardliness in battle, an important prerequisite for the tribe which guarded the frontier. The banner of Gad showed a formation of soldiers and army camp, which may be discerned in the painting.
ASHER was inscribed on the Tarshish, which was a gem with an olive oil tint, appropriate for a tribe which was known for its olive oil production. The banner of Asher showed an olive tree, which is the central composition in the painting.
JOSEPH was inscribed on the Shoham, which was a very black gem. The banner of Joseph showed the city of Egypt, represented here by a myriad of small faces, emerging from the shadows.
BENJAMIN was inscribed on the Yashpeh, or jasper, which
was multicolored. The banner of Benjamin showed a wolf, preying on its
spoil, emanating ferocity. In the painting a frontal view of a wolf is
somewhat hidden behind the reeds, but may be discerned, if you know where
to look.
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