Jesus Comes Back to the Jews: Part 1


Israel Museum 2a

From December, 2016 at the Israel Museum an exhibit, Jesus comes back to the Jews, was boldly featured by the museum’s art curator, Amatai Mendelsohn. The exhibit featured 150 works by 40 mainly Jewish artists exploring the complex, evolving attitudes of Jewish, Zionist and Israeli artists toward the Christian Saviour. The exhibition concluded on the 22nd April, 2017. A companion book called: Behold the Man: Jesus in Israeli Art, was written by Amatai Mendelsohn. 


[By JESSICA STEINBERG 23 January 2017, 12:13 pm]


Last supperAdi Nes’s ‘Untitled (Last Supper), planned down to the last plate (Courtesy Israel Museum)

Ms Jessica Steinberg said,

“Jesus and the Jews have had something of a complicated relationship.”

In “Behold The Man: Jesus in Israeli Art,” a new exhibit at the Israel Museum, curator Amatai Mendelsohn examines that complex iconography up close, through the prism of Jewish and Israeli art.


It’s a process Mr Mendelsohn began 10 years ago, when he first laid eyes on an unusual painting by Reuven Rubin, the famed Israeli artist and pioneer. (You may view my programme in Behold the Man series in which I feature Rubin’s work0.

At the time, Mendelsohn was working on an exhibit about Rubin, “Prophets and Visionaries: Reuven Rubin’s Early Years: 1914-23,” and stumbled upon one of Rubin’s earliest self-portraits, in which he mimics aspects of a Jesus figure, as he, the subject, stares down at his bloodied hands.


“Rubin was attracted to Jesus, and that intrigued me,” he said. “Now I know how many Jewish artists dealt with the figure of Jesus.”

In one of the main gallery halls, the exhibit features the 150 works by some 40 artists, in which the evolving attitudes of Jewish, Zionist and Israeli artists toward Jesus is on display..


There are the classic works that place Christian-inspired images in classically Zionist settings, in which Jesus becomes a metaphor for the rebirth of the Jewish people in the Promised Land, and more contemporary, 20th- and 21st-century Israeli artists, who saw Jesus as a more familiar symbol of personal and universal suffering.


The show, which opened in December, brings together works from the museum’s collections and from private and public collections in Israel, as well as several pieces borrowed from the National Museum in Warsaw and Centre Pompidou in Paris. The exhibit is open until April 22, 2017.

It’s a collection of works that Mendelsohn, who has been a curator at the Israel Museum for 20 years, has thought about for much of that time.

“For me, the art history process starts when I see something as part of my daily museum activity,” he said. “It’s a question of how religion and art connect.”

In order to tackle the many works dealing with Jesus, Mendelsohn divided the exhibit into sections, looking at Jesus deployed as a problematic figure in Jewish history, Jesus as the enemy, as a symbol of anti-Semitism, and as someone who had a “huge effect on Jewish existence,” he said.


The exhibit begins with “Jesus Preaching in Capernaum,” the last, unfinished piece from 1879 by Maurycy Gottlieb, the Polish artist who died at just 23, and is perhaps best known for his famed Yom Kippur painting. This work resembles that peace, with a similar composition, as it is set in a synagogue, albeit in Kfar Nahum or Capernaum, the northern Galilean town where Jesus famously preached.

Featuring Jesus in the centre with a mix of congregants listening to him, Gottlieb looked at Jesus as a Jew, and as a possible bridge between Christians and Jews, perhaps harkening to what could happen in his native Poland.

“It sets a tone for the show,” said Mendelsohn. “Here was Jesus, and he had a moral, universal, humanistic message.”

It’s a message that echoes the thoughts of German-Jewish philosopher Moses Mendelsohn — whom the curator is not related to — who saw Jesus as a moral Jew, as a prophet, perhaps one of the greatest Jews, but not as God.

“It takes Jesus back to the Jews,” said Mendelsohn.

To the right of Gottlieb’s work is “In the Shadow of the Cross,” a massive piece by Polish painter Samuel Hirszenberg, who worked a generation later. Taking a far darker, more sinister look, the Zionist painter created a difficult image of a wandering Jew, barely dressed, wandering among corpses in a cemetery.


It hung in the original Bezalel art school building in Jerusalem for many years, portraying the emergence of the Zionist movement, said Mendelsohn, and the early pioneers’ escape from Europe and anti-Semitism.

The third wall of the first section is completed with Chagall’s “Yellow Crucifixion” from 1942, depicting a Jew with the halo of a Christian saint, wearing phylacteries.


“Many don’t know that Chagall was attracted to and obsessed by Jesus as a figure of Jewish pain and suffering,” said Mendelsohn.


So was Rubin, apparently. One section of the exhibit is devoted to several of his paintings, beginning with that early self-portrait that looks quite different from his other works, noted Mendelsohn.

“When I looked at this, I thought it was a strange Rubin,” he said. “It was all about his agony. Rubin was very interested in the story of Jesus.”

It was painted during Rubin’s early period when he spent some time in New York after 10 years in Romania and a year before that in pre-state Palestine.


That piece is followed by others from Rubin, including one of an old, religious Jew sitting on a bench with a resurrected Jesus, and others featuring a Madonna, lolling on what looks like the shore of the Galilee, with a baby that could be the baby Jesus reborn in the land of the Jews.



“It’s resurrection of the birth of the baby, all about new beginnings,” said Mendelsohn.

A painting by Moshe Castel, who was born in Ottoman-era Palestine to a religious family, was discovered recently in a locked cupboard of the Moshe Castel Museum of Art in Ma’ale Adumim. It was painted after the artist’s newborn baby and wife died following childbirth.

The painter, who lived in Safed, secluded himself in a monastery and painted the dark, sad self-portrait that mimics other art of Jesus as the long-suffering, misunderstood prophet.

As the exhibit moves into more modern times, there are different sides of Jesus portrayed as well. Yigal Tumarkin, an immigrant from Germany whose father wasn’t Jewish, looks at the crucifixion in his rough, sharp-edged sculpture made from salvaged goods found in Bedouin camps, as he interpreted the tensions in Israeli society and prototypes of Christian art.



Moshe Gershuni’s exhibited works focus primarily on the blood of the crucifixion, perhaps creating a new testament between him and the Israeli public after he came out of the closet as gay, conjectured Mendelsohn.

בעין תודעה - מה נורא המקום הזה-3There are photographs of performance art by multimedia artist Motti Mizrachi, who is disabled, and walked down the Via Dolorosa in 1973 with a cross on his back. Another set of photographs juxtapose a newspaper photograph of a dead Palestinian man being carried during the First Intifada, with the famed paintings of the disciples carrying the crucified Jesus.


The exhibit ends with the now-famous photo by Nes Adi, “Untitled (Last Supper),” a staged photo of Israeli soldiers eating a mess-hall dinner that echoes the “Last Supper” painting by Leonardo da Vinci.

Then there is the video installation by sculptor and installation artist Sigalit Landau, who filmed a series at the Dead Sea, including a piece depicting her floating on a whole watermelon. It conjures images of Mary with Jesus, as Landau’s hands are stretched to the sides, evoking the cross.

“Israelis are funny about Jesus,” said Mendelsohn. “But when we scrape the surface, we realise that there is a lot of Christian imagery all around us, even if we’re unaware of it.”

“Behold The Man: Jesus in Israeli Art,” Israel Museum, open until April 22, 2017.


Art and Theatre 


With the depiction of Moses, Jesus and Muhammad, there is a great danger of causing offence – particularly if this is done in a satirical or a mocking caricature of them. Jews, Christians and Moslems do not take kindly to such renderings. Anger, disgust, protest, rage and violence may result from those who have been offended, expressing outrage towards the artist and media personnel  who are involved in publicising the offensive material. This is the recent response to the McJesus sculpture and the Charlie Hebdo cartoon – the Christian reaction was comparatively mild and measured in comparison to the cartoon depiction of the Prophet of Islam:

McJesus Sculpture


McJesus’ sculpture sparks outrage among Haifa’s Christians
Arab Christians call for the removal of sculpture that portrays Ronald McDonald as Jesus on the cross; on Friday, protesters hurled a firebomb and stones at the museum, wounding 3 police officers.
[Associated Press |Published:  01.15.19 , 16:23]

An art exhibit featuring a crucified Ronald McDonald has sparked protests by Haifa’s Arab Christian minority.

Hundreds of Christians calling for the removal of the sculpture, entitled “McJesus,” demonstrated at the museum in the northern city on Friday. The police said rioters hurled a firebomb at the museum and threw stones that wounded three police officers. Authorities dispersed the crowds with tear gas and stun grenades.
Church representatives brought their grievances to the district court Monday, demanding it order the removal of the exhibit’s most offensive items, including Barbie doll renditions of a bloodied Jesus and the Virgin Mary.,7340,L-5447307,00.html

Charlie Hebdo


[From Wikipedia, the free encyclopaedia]

Charlie Hebdo: from the French ‘Charlie Weekly,’ is a French satirical weekly magazine, featuring cartoons, reports, polemics, and jokes. Irreverent and stridently non-conformist in tone, the publication describes itself as above all secular, skeptic, and atheist, far-left-wing, and anti-racist publishing articles about the extreme right (especially the French nationalist National Front party), religion (Catholicism, Islam, Judaism), politics and culture.

The magazine has been the target of two terrorist attacks, in 2011 and 2015. Both were presumed to be in response to a number of controversial Muhammad cartoons it published. In the second of these attacks, 12 people were killed, including publishing director Charb and several other prominent cartoonists.

Charlie Hebdo first appeared in 1970 as a companion to the monthly Hara-Kiri magazine, after a previous title was banned for mocking the death of former French President Charles de Gaulle. In 1981 publication ceased, but the magazine was resurrected in 1992. Its current editor-in-chief is Gérard Biard. The previous editors were François Cavanna (1970–1981) and Philippe Val (1992–2009). The magazine is published every Wednesday, with special editions issued on an unscheduled basis.



Monopoly Board Game Parody of Jewish Control of World Finances


ZOG – Zionist Occupied Government that controls the world 

Equally, to single out Jews for ridicule and to hold to anti-Semitic and conspiracy theories  that claim that they control world finances and governments – called ZOG. Alas, even Jeremy Corbyn’s the Labour leader was slow to condemn such ideas:

A Step too far

No serious minded person likes folk to poke fun or ridicule at that which is sacred to them, because of their particular faith – Jews, Christians and Moslems each have their redlines that when folk cross them they voice their opposition as is the case of the two examples given above:

  • McJesus’ sculpture
  • Prophet Muhammad depicted wearing a turban that in the shape of a bomb.
  • Ant-Semitic Monopoly board game mural

While satire and humour may be part of expression of free-speech, however, for some folk there is definitely a crossover point where those who are ridiculing that which fundamental to their faith go too far and they result in giving offence. This is clearly so in these cases that I have given, as well as to perpetuate anti-Semitic tropes as depicted in the last two image above.

Art as self-expression:

You will recall that I did a series of programmes during 2017 on the image of Jesus in Jewish and Israeli art. These were based upon the book by Amatai Mendelsohn –

Behold the Man: Jesus in Israeli Art

Various aspects of this subject were considered over a number of months on my blog. One example is –

Behold the Man: Between Judaism, Zionism, and Christianity

Posted on September 13, 2017:

In this programme I wish to explore the theme –

From Personal Experience to National Identity

Art that is true art is not simply a dispassionate and visual depiction of a given subject. For the true artist, for her or his work to have a significant impact, it must generally convey something of the artist who created the piece of work – this is equally true when we think about the amazing world in which we live. There is an intelligence behind it that thinks and feels [mind and heart – will and emotions] and those who believe, call the ONE the Creator G_D. For we do not live in a random universe, but it has a perfect order and design, like the fingerprints of the sculptor or brush strokes of the painter.

I recall the work of the sculptor Babara Hepworth who drew her inspiration from the costal environment in which she lived. The crashing of the sea sculpting the rock formation in the cove near where she lived is reflected  the awesome beauty that the motion of the sea carved from the rocks. Her inspired work reflects this starkness of the visual and audio impressions that were imprinted on her mind and reflected in her sculptures.

Image II 1960 by Dame Barbara Hepworth 1903-1975

Image II 1960 Dame Barbara Hepworth 1903-1975 Presented by the artist 1967

Image II 1960 Dame Barbara Hepworth 1903-1975 Presented by the artist 1967




Surgeon about his craft, like a Sculptor

A risky challenge

EPSON scanner image

Mark Anatokolsky


Marc Chagall

There is a risky and challenging undertaking that faces the Jewish and Israeli artist who seeks to depict Jesus, with the attendant danger and scope for being misunderstood. Both Marc Chagall and Mark Anatokolsky both faced severe criticism for depicting a Jewish looking Jesus – “Why did you paint/sculpture Christ?” said their fellow Jews and “Why did you paint/sculpture Christ like that?” said gentiles when confronted with a very Jewish looking Jesus. No one said that it would be easy, but then artist are often people who challenge the status quo and press the margins of what folk perceive as being acceptable. May one say that they live dangerously. Like the Chinese Chinese avant garde artist Wi Wi  who was driven into exile for his challenging the authoritarian communist rule in his native China.

From Personal Experience to National Identity



Moshe Castel, Crucifixion, ca. 1948. Ink on paper, 30 x 21 cm.                                             The Moshe Castel Museum of Art, Ma’ale Adumim, Israel

Moshe Castel

Moshe Castel 1900 – 1991, was born in Israel to Jewish parents that had lived in the Jerusalem for many generations. However, he lived in Paris from 1927 – 1940. Although his paintings dealt with general themes, in the European expressionistic style, when he returned to Israel, he did two paintings of deep significance related to our theme of Jesus in Jewish and Israeli art – they we both depicted a crucifixion of Jesus.



Paintings in sequence: Chaim Soutine 1 and 2,  3; Francis Bacon  4, 5, 6, & 7                                


As I have said above that the personal life of the artist almost always has an impact upon the content that is portrayed, relating to personal events and impressions.


Painting by Roni Mechanic


Take for example this painting done by me – you will notice that there  are  the image of three fish. On closer examination, there is a large whale above a dolphin and in the bottom left hand corner there is a shark. My wife Elisheva pointed out to me that she thought that the picture expressed a turbulent time that I had been facing and that the whale symbolised G_D’s protection over me, the dolphin, that was being threatened by the shark. I had not consciously painted these three fish with that in mind, but I had to agree with her summation of the imagery in the painting.

Similarly, Moshe Castel’s Crucifixion paintings gave expression to a very painful episode in his personal life. He painted these in 1948, when he withdrew from public life, spending a year in a monastery on the shores of the Sea of Galilee. This retreat took place after the death of his wife who died giving birth, and their child who died some three years later. It is in an expressive style, very similar to the work of Chaim Soutine. We should note that the third painting by Soutine of the human butchered body is echoed in Francis Bacon’s work – [See panel above for examples of their work]Castel depicts himself as the crucified Jesus, against a background of mountains on a stormy night. The depiction is reminiscent of  Matthias Groenewolt’s Isenheim crucifixion.


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In Castel’s depiction of Jesus, the face is that of the artist himself and the artist himself:

What Moshe Castel has done is not unique, Paul Gauguin did that as well in his Yellow Crucifixion. Vincent van Gogh’s Peita and Marc Chagall spoke of himself in his anguish as an artist as if he were being crucified. This type of portrayal of the artist as if he were Christ is a way of attempting to describe the depth of their personal anguish. It is particularly significant that Jewish and Israeli artist feel at liberty to cross this threshold of depicting Jesus’ crucified as not only an image of their own suffering, but equally as Chagall had done of Jewish suffering in general.




Van Gogh – Peita

EPSON scanner image

Chagall’s Anguish

Amatai Mendelsohn says, that it is apparent that an enormous emotional investment went into this surprising painting by Castel. One wonders if his time in the Catholic monastery had an influence upon him. This is pure conjecture on my part, but it does not completely surprise me that he should have painted this crucifixion that is at the heart of the Catholic and Christian/Messianic faith. All the more so that these images of the crucified Christ were never seen during the artist life, as the were found locked away in a cupboard in his home after his death.

A great taboo surrounds the question of Jewish and Israeli artist daring to depict the figure and person of Jesus still to this day. Mendelsohn continues in his discussion, that the inscription that went above the painting was planned in two preparatory sketches in which Castle used the proper Hebrew name for Jesus in place of the INRI – he wrote “Yeshua” instead of the “Yeshu,” that is often said and written derisively and is an acronym for “may his name and memory be obliterated.” As I have conjectured, Mendelsohn says, this suggests that the painter’s positive view, rather than the usual Jewish revolution towards Jesus’ name is implied by Castel’s rendering of it.


George Rouault Christ de face [detail]

This second painting by Moshe Castle [see below on blog], also unknown to critics or the public is a depiction of the crucifixion of Jesus, the head surrounded by a halo, and a cloth wrapped around his loins, suggesting a prayer shawl – tallit. Also included is the figure of a Jewish man wearing a skull-cap and a Jewish woman standing beneath the cross on which Jesus hung. There is a third figure with his back to the viewers, also wearing a skull cap. Two angels hover beneath the hands of the crucified figure.


In Paris, Castel had met Chagall and Soutine, and other Jewish artist of the Jewish School of Paris.


André Warnod, Les Berceaux de la jeune peinture (1925). Cover illustration by Amedeo Modigliani

The Paris “Jewish” School

The term “School of Paris” was used in 1925 by André Warnod [fr] to refer to the many foreign-born artists who had migrated to Paris.[3] The term soon gained currency, often as a derogatory label by critics who saw the foreign artists—many of whom were Jewish—as a threat to the purity of French art.[4] Art critic Louis Vauxcelles, noted for coining the terms “Fauvism” and “Cubism”, also meant disparagingly, called immigrant artists unwashed “Slavs disguised as representatives of French art”.[5] Waldemar George, himself a French Jew, in 1931 lamented that the School of Paris name “allows any artist to pretend he is French…it refers to French tradition but instead annihilates it.”[6]

School of Paris artists were progressively marginalised. Beginning in 1935 art publications no longer wrote about Chagall, just magazines for Jewish audiences, and by June 1940 when the Vichy government took power, School of Paris artists could no longer exhibit in Paris at all.[6]

The artists working in Paris between World War I and World War II experimented with various styles including Cubism, Orphism, Surrealism and Dada. Foreign and French artists working in Paris included Jean Arp, Joan Miró, Constantin Brâncuși, Raoul Dufy, Tsuguharu Foujita, artists from Belarus like Michel Kikoine, Pinchus Kremegne, and Jacques Lipchitz, the Polish artist Marek Szwarc and others such as Russian-born prince Alexis Arapoff.[7]

A significant subset, the Jewish artists, came to be known as the Jewish School of Paris or the School of Montparnasse.[8] The “core members were almost all Jews, and the resentment expressed toward them by French critics in the 1930s was unquestionably fuelled by anti-Semitism.”[9] One account points to the 1924 Salon des Indépendants, which decided to separate the works of French-born artists from those by immigrants; in response critic Roger Allard [fr] referred to them as the School of Paris.[9][10] Jewish members of the group included Emmanuel Mané-Katz, Chaim Soutine, Adolphe Féder, Chagall, Moïse Kisling, Maxa Nordau and Shimshon Holzman.[11]

The artists of the Jewish School of Paris were stylistically diverse. Some, like Louis Marcoussis, worked in a cubist style, but most tended toward expression of mood rather than an emphasis on formal structure.[8] Their paintings often feature thickly brushed or troweled impasto. The Musée d’Art et d’Histoire du Judaïsme has works from School of Paris artists including Pascin, Kikoine, Soutine, Orloff and Lipschitz.[12]

In the aftermath of the war, “nationalistic and anti-Semitic attitudes were discredited, and the term took on a more general use denoting both foreign and French artists in Paris”.[4] But although the “Jewish problem” trope continued to surface in public discourse, art critics ceased making ethnic distinctions in using the term. While in the early 20th century French art critics contrasted The School of Paris and the École de France, after World War II the question was School of Paris vs School of New York.[13]

Post-World War II (Après-guerre), the term “School of Paris” often referred to tachisme, and lyrical abstraction, a European parallel to American Abstract Expressionism. These artists are also related to CoBrA.[14] Important proponents were Jean Dubuffet, Pierre Soulages, Jean-Michel Coulon, Nicolas de Staël, Hans Hartung, Serge Poliakoff, Bram van Velde, Georges Mathieu, Jean Messagier and Zoran Mušič, among others. Many of their exhibitions took place at the Galerie de France in Paris, and then at the Salon de Mai where a group of them exhibited until the 1970s.


Moshe Castel’s second painting of The Crucifixion, 1940 – 1945, is a watercolour on paper, mounted on canvas, 50 x 36 cms, The Moshe Castel Meseum of Art, Ma’ale Adumim.


This painting was influenced by Marc Chagall and by George Henri Rousalt (see detail of the head of Christ, above).

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George Henri Rousalt

Chagall’s White Crucifixion is the most important painting of the crucified Jewish Christ of the Paris Jewish School.

The Expressionistic style of Rousalt, was influenced by religious icons and medieval artistic rendering of Biblical New Testament themes. The use of heavy bold colours, shapes and lines giving expression to the emotion and the drama of the death of Jesus.

While the depiction of the image of humans and the divine was forbidden in Judaism, Jewish artist looked elsewhere for references to be able to depict biblical and religious themes. What makes the Paris Jewish School’s work unique is that these Jewish artists were not under the constraint of the Jewish religious establishment who would have disapproved of their rendering of the image if Jesus in particular. One should note that Marc Chagall’s windows at the Jerusalem Hadassah Hospital of the Twelve Tribes of Israel, is largely abstract in its rendering of these biblical themes.


The Measure of the Person 

Apart from Moshe Castel’s two Crucifixion paintings and a few sketches, he did not publicly paint any images of Jesus in his work. He was the son of a respected rabbi, and he was intimately familiar with his religious and cultural Jewish heritage. In his art he explored the Jewish Bible, mysticism, and other Jewish themes. The enigma of what inspired him to pain these two Crucifixions after he left Paris and returned to Eretz-Israel, remains unanswered. What I personally find fascinating that in the desire to express his deepest, private pain and loss, he turned to the theme off the crucifixion of Jesus.

Amatai Mendelsohn suggests that a reason for this, may be found in his bitter anger towards the Jewish G_D. How ironic that while he sought to give expression to his anger towards HaShem, who he must have felt had abandoned him, nonetheless, he turns to his Jewish Son, who was despised and rejected by Jew and gentile alike. This private anger  towards God and fascination with Jesus, may suggest his ambivalence and fear about identifying himself publicly with an image that traditionally was considered as idolatrous. He did not stand alone for there were other Jewish people like Uri Zvi Greenberg, the poet, who was also drawn to his “brother’ on the cross, and this included Aharon Kabak, whose novel on the life of Jesus, also rose out of tragic personal loss.

Looking UNTO Jesus

Jewish people like so many others in their darkest hour of loss and despair have turned to Jesus – Yeshua and found him as their Messiah and Lord. Was this the case of Moshe Castel’s darkest secret that only emerged after his death? Locked away in a hidden cupboard, but there in the hidden chambers of his heart was the Saviour who was able to give him comfort and hope.

The prophet Zechariah says,

“And I will pour out on the house of David and the inhabitants of Jerusalem a spirit of grace and supplication. They will look on me, the one they have pierced, and they will mourn for him as one mourns for an only child, and grieve bitterly for him as one grieves for a firstborn son: (12:10).

Isaiah 52:13 – 53:12:


Behold, my servant shall deal prudently, he shall be exalted and extolled, and be very high.


As many were astounded at thee; his visage was so marred more than any man, and his form more than the sons of men:


So shall he sprinkle many nations; the kings shall shut their mouths at him: for that which had not been told them shall they see; and that which they had not heard shall they consider.Who hath believed our report? and to whom is the arm of the LORD revealed?


For he shall grow up before him as a tender plant, and as a root out of a dry ground: he hath no form nor comeliness; and when we shall see him, there is no beauty that we should desire him.


He is despised and rejected of men; a man of sorrows, and acquainted with grief: and we hid as it were our faces from him; he was despised, and we esteemed him not.


Surely he hath borne our griefs, and carried our sorrows: yet we did esteem him stricken, smitten of God, and afflicted.


But he was wounded for our transgressions, he was bruised for our iniquities: the chastisement of our peace was upon him; and with his stripes we are healed.


All we like sheep have gone astray; we have turned every one to his own way; and the LORD hath laid on him the iniquity of us all.


He was oppressed, and he was afflicted, yet he opened not his mouth: he is brought as a lamb to the slaughter, and as a sheep before her shearers is dumb, so he opens not his mouth.


He was taken from prison and from judgment: and who shall declare his generation? for he was cut off out of the land of the living: for the transgression of my people was he stricken.


And he made his grave with the wicked, and with the rich in his death; because he had done no violence, neither was any deceit in his mouth.


Yet it pleased the LORD to bruise him; he hath put him to grief: when thou shalt make his soul an offering for sin, he shall see his seed, he shall prolong his days, and the pleasure of the LORD shall prosper in his hand.


He shall see of the travail of his soul, and shall be satisfied: by his knowledge shall my righteous servant justify many; for he shall bear their iniquities.


Therefore will I divide him a portion with the great, and he shall divide the spoil with the strong; because he hath poured out his soul unto death: and he was numbered with the transgressors; and he bare the sin of many, and made intercession for the transgressors.
You too

You too can make the awesome discovery that the Suffering Sevant of G_D is both Lord and Messiah.This is a reality that countless Jews and gentiles testify to.



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Baruch Mayan – Israeli Artist – His Journey to Faith

An apology:

Concerning the recording quality – due to technical issues, I have had to do extensive editing, and this includes Baruch’s voice – hope you enjoy listening – Shalom Radio UK

– Israeli fine artist –
Baruch Maayan

Baruch Maayan developed a love for fine art at a young age when he drew his friends and teachers in the classroom and illustrated the stories they heard, this was as early as 2nd grade.

By 7th grade everyone knew he would be an artist. He loved to experiment with different media whether clay, stone or carving wood or mixing mediums. Always drawing and illustrating, finding  expression in the human form and also discovering a gift for portraiture and bringing out character. It was only in his early teens that he found expression with the brush and colour. Baruch believed that a gift of craftsmanship was something that had to be cultivated and pursued whether it be writing, drawing, painting or sculpting.  He continued to learn techniques and other skills in painting, carving stone, largely from studying Michelangelo’s unfinished work . Making moulds and bronze sculptures from Rodin and other Artisans as well as in the Technicon where he was to Mayor in Sculpture. However he was unable to complete his degree due to a radical epiphany where he had a very real personal encounter with Jesus, Yeshua the Messiah while doing a 7 day blindfold experiment in the Clay sculpture studio. For a while he laid down his gift as meaningless, as if his whole life’s thrust had been useless, vanities; even, at the time, giving up on all commissions and jobs involving art which he had been doing to help with daily living.

A year or so later, during school holidays, Baruch was helping young kids in the inner city. Playing games and telling them stories in the park. It began to rain and they had to find shelter in the Church. Baruch not knowing what to do found some boards and coloured paper and quickly drew some Bible stories on the boards and had the kids fill in the spaces with the coloured paper while he told the stories to them. He went outside and wept realising that God could use the gift.. He has since been encouraged by the scripture: “Then the Lord spoke to Moses, saying: “See, I have called by name Bezalel the son of Uri, the son of Hur, of the tribe of Judah. And I have filled him with the Spirit of God, in wisdom, in understanding, in knowledge, and in all manner of workmanship.”” – Exodus 31:1-3

Baruch began to see his work as a type of tent making blessing. In 1999, Baruch and his wife, Karen, made Aliyah from South Africa. After spending a year in Safed where he had a gallery and studio Baruch began to serve with the Messianic leadership in the Land and after three years in Tel Aviv, planted a community of believers in the desert. Baruch has been involved with the prophetic and prayer movement of the Isaiah 19:23-25 vision for Israel and her Middle Eastern neighbours. Through his service of planting and encouraging communities of believers, {in Israel and among the nations) Baruch continues to be inspired by the word of God and this is evident in his artwork.

Baruch has become known in Israel as the Hotel Gilgal artist where many of his works are on display for all of the guests to see and admire. He has made several large bronze sculptures depicting scenes and heroes from the bible as well as several series of large paintings and a number of Mosaics

Baruch continues to work with the messianic community and produce Art. He has recently written and produced his own music album and plays in a band with other Israeli Messianic musicians. Baruch and Karen have raised five amazing children in the Land to the glory and praise of God.

I mention the work of these three artists in the programme: Chagall – Christ; Bacon – Pope Pious X; Castle – Christ

Baruch Ma’ayan shares his story

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THATHAT: Don’t Eat That Hat – Rather Listen To The Truth!

THATHAT: Don’t Eat Your Hat Rather Listen to the Truth!

The Scripture says,”The truth will set you free, and you will be free indeed.” God wants us to be free to choose to love and serve him. We must always make our choices freely and never under compulsion, duress, out of fear, but because we have become persuaded.

The truth according to the Gospel must be the basis of our faith. Let’s explore what is meant concerning the ‘truth,’ as contained in the Gospel –– Good News for all humankind and that must include all who call upon the name of the Lord for his gift of salvation.

Why do some declare there are many different ways to be delivered –– can this be the case? According to the Tanach –– Hebrew Scriptures together with the New Covenant Scriptures, ‘God has become our Salvation!’ In Isaiah 53:1-12, we are painted a portrait of the Suffering Servant of the LORD –– Adoni. Notwithstanding, while the Servant of the LORD secures our redemption through his self-offering, is only the beginning of our being delivered/saved. Ray Shaul/ Apostle Paul, tells us that we are being saved –– for the process of our being delivered takes a lifetime.

Please Note: All recorded music on this programme is from Open Domain and is Copyright Free!

Acts 2:17, NIV: ‘In the last days, God says, I will pour out my Spirit on all people. Your sons and daughters will prophesy, your young men will see visions, your old men will dream dreams.’

I have a dream that God’s plan of Salvation is for all who call upon the Name of Yeshua!

I have a Dream – Martin Luther King Jr.

Isaiah 53 New International Version

Isaiah 53: Who has believed our message
    and to has the arm of the Lord been revealed?
He grew up before him like a tender shoot,
    and like a root out of dry ground.
He had no beauty or majesty to attract us to him,
    nothing in his appearance that we should desire him.
He was despised and rejected by mankind,
    a man of suffering, and familiar with pain.
Like one from whom people hide their faces
    he was despised, and we held him in low esteem.

Surely he took up our pain
    and bore our suffering,
yet we considered him punished by God,
    stricken by him, and afflicted.
But he was pierced for our transgressions,
    he was crushed for our iniquities;
the punishment that brought us peace was on him,
    and by his wounds we are healed.
We all, like sheep, have gone astray,
    each of us has turned to our own way;
and the Lord has laid on him
    the iniquity of us all.

He was oppressed and afflicted,
    yet he did not open his mouth;
he was led like a lamb to the slaughter,
    and as a sheep before its shearers is silent,
    so he did not open his mouth.
By oppression[a] and judgment he was taken away.
    Yet who of his generation protested?
For he was cut off from the land of the living;
    for the transgression of my people he was punished.[b]
He was assigned a grave with the wicked,
    and with the rich in his death,
though he had done no violence,
    nor was any deceit in his mouth.

10 Yet it was the Lord’s will to crush him and cause him to suffer,
    and though the Lord makes[c] his life an offering for sin,
he will see his offspring and prolong his days,
    and the will of the Lord will prosper in his hand.
11 After he has suffered,
    he will see the light of life[d] and be satisfied[e];
by his knowledge[f] my righteous servant will justify many,
    and he will bear their iniquities.
12 Therefore I will give him a portion among the great,[g]
    and he will divide the spoils with the strong,[h]
because he poured out his life unto death,
    and was numbered with the transgressors.
For he bore the sin of many,
    and made intercession for the transgressors.

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MaxRon Discussions: Signs of the Times – Wars and Rumours of Wars

Signs of the Times – Wars and Rumours of Wars…

Matthew 24:6:

New International Version
You will hear of wars and rumors of wars, but see to it that you are not alarmed. Such things must happen, but the end is still to come.

New Living Translation
And you will hear of wars and threats of wars, but don’t panic. Yes, these things must take place, but the end won’t follow immediately.

Russian-Ukraine War This current war is uppermost in our minds –– Speaking about some of the details…

IT is now nearly five weeks since Vladimir Putin started his wicked war with Ukraine. And he is losing.

His best troops are being defeated and his young conscripts are dying in large numbers — 16,000, we are told — at the hands of hard-fighting Ukrainian troops.

Plus, the countless Ukrainians who have been killed, injured and displaced!

What about other forgotten wars… It is a bit hypocritical to only focus on this latest current war.

•What causes wars? •Is War ever justified? •Biblical wars… •Life changing and defining wars •Augustine’s Just War theology… •The Last Great Biblical War in Prophecy… •The End of War? Is that possible?…

An Abstract

St. Augustine’s just war theory – It involves eight principal elements: • 1/ a punitive conception of war, • 2/ assessment of the evil of war in terms of the moral evil of attitudes and desires, • 3/ a search for authorisation for the use of violence, • 4/ a dualistic epistemology which gives priority to spiritual goods,

[“epistemology” > the theory of knowledge epistemology, the philosophical study of the nature, origin, and limits of human knowledge. The term is derived from the Greek epistēmē (“knowledge”) and logos (“reason”), and accordingly the field is sometimes referred to as the theory of knowledge].

• 5/ interpretation of evangelical norms in terms of inner attitudes, • 6/ passive attitude to authority and social change, • 7/ use of Biblical texts to legitimate participation in war, and • 8/ an analogical conception of peace. It does not include non-combatant immunity or conscientious objection. A contemporary assessment of the elements is offered.

Just war theory

[From Wikipedia, the free Encyclopaedia]

Just war theory (Latin: bellum iustum)[1][2] is a doctrine, also referred to as a tradition, of military ethics which is studied by military leaders, theologians, ethicists and policy makers. The purpose of the doctrine is to ensure that a war is morally justifiable through a series of criteria, all of which must be met for a war to be considered just. The criteria are split into two groups: “right to go to war” (jus ad bellum) and “right conduct in war” (jus in bello). The first group of criteria concerns the morality of going to war, and the second group of criteria concerns the moral conduct within war.[3] There have been calls for the inclusion of a third category of just war theory (jus post bellum) dealing with the morality of post-war settlement and reconstruction. The just war theory postulates the belief that war, while it is terrible but less so with the right conduct, is not always the worst option. Important responsibilities, undesirable outcomes, or preventable atrocities may justify war.[3] Opponents of the just war theory may either be inclined to a stricter pacifist standard (which proposes that there has never been nor can there ever be a justifiable basis for war) or they may be inclined toward a more permissive nationalist standard (which proposes that a war only needs to serve a nation’s interests to be justifiable). In many cases, philosophers state that individuals do not need to be plagued by a guilty conscience if they are required to fight. A few philosophers ennoble the virtues of the soldier while they also declare their apprehensions for war itself.[4] A few, such as Rousseau, argue for insurrection against oppressive rule.

The historical aspect, or the “just war tradition”, deals with the historical body of rules or agreements that have applied in various wars across the ages. The just war tradition also considers the writings of various philosophers and lawyers through history, and examines both their philosophical visions of war’s ethical limits and whether their thoughts have contributed to the body of conventions that have evolved to guide war and warfare.[5]

The Last Great Biblical War in Prophecy…


Albert Durer’s Four Horsemen of the Apocalypse

(From Wikipedia, the free encyclopaedia)

According to the Book of Revelation in the New Testament of the Christian BibleArmageddon (/ˌɑːrməˈɡɛdən/, from Ancient Greek: Ἁρμαγεδών Harmagedōn,[1][2] Late LatinArmagedōn,[3] from Hebrew: הַר מְגִדּוֹ‎ Har Məgīddō) is the prophesied location of a gathering of armies for a battle during the end times, which is variously interpreted as either a literal or a symbolic location. The term is also used in a generic sense to refer to any end of the world scenario. In Islamic theology, the Armageddon is also mentioned in Hadith as the Greatest Armageddon or Al-Malhama Al-Kubra (the great battle).[4]

The “mount” of Megiddo in northern Israel is not actually a mountain, but a tell (a mound or hill created by many generations of people living and rebuilding on the same spot)[5] on which ancient forts were built to guard the Via Maris, an ancient trade route linking Egypt with the northern empires of SyriaAnatolia and Mesopotamia. Megiddo was the location of various ancient battles, including one in the 15th century BC and one in 609 BC. The nearby modern Megiddo is a kibbutz in the Kishon River area.[6]

The End of War? Is that possible?…Some are holding to the belief that the Ukraine war led by Vladimir Putin is the fulfilment of Biblical prophecy –– Is there any justification for holding to such theories? History is littered with religious sects and sub-sects in Judaism, Christianity, Islam and Hinduism that have all had groups that have attempted to convince folk that the end of the world is neigh!

Don’t be deceived…

New Living Translation
And you will hear of wars and threats of wars, but don’t panic. Yes, these things must take place, but the end won’t follow immediately

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Straight Talking: Yeshua’s Love

Different Kinds of Love Explored – Divine Love is that Pure Love of God as manifested in an through the Life of Yeshua – listen and enjoy!

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THATHAT: STRAIGHT TALKING:”You are my witnesses!”

“You are My Witnesses.”

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What is a witness? And how can we be a witness?

A witness is someone who saw something –– so what did we see, hear, and experience? Having spoken of the fact “He is there, and he is not silent,” in my last programme, –– I was attempting to establish that the evidence of God’s existence is possible to comprehend. This is a philosophical question that many individuals have endeavoured to explain. Proof and comprehension are not the same, and this difference is important explain. In the medical profession, there are different branches of medicine –– There are general practitioners who have the overall ability to diagnose medical issues, but then there are specialists who fulfil the vital role of firstly diagnosing an illness and then prescribing the treatment. A broken arm or leg is easy to treat, however, and internal illness is another matter –– The is a whole branch of Internal Medicine, that is totally dependent on diagnostic techniques.

The reason is that to effect the suitable treatment that is required is not as straightforward and treating a visible problem such as that broken leg or visible wound. When it comes to attempting to prove that God is there it is much more like internal medicine that has to depend on the symptomatic evidence than a visual matter.

So what is the evidence? Eye witness accounts are the most important, for the testimony of those who were actually contemporary with Yeshua will count for the most.

Internal and external accounts –– In 1 John we read,

The Incarnation of the Word of Life

That which was from the beginning, which we have heard, which we have seen with our eyes, which we have looked at and our hands have touched—this we proclaim concerning the Word of life. The life appeared; we have seen it and testify to it, and we proclaim to you the eternal life, which was with the Father and has appeared to us. We proclaim to you what we have seen and heard, so that you also may have fellowship with us. And our fellowship is with the Father and with his Son, Jesus Christ. We write this to make our[a] joy complete. We need to take a closer look at what John has said,..

which we have heard, which we have seen with our eyes, which we have looked at and our hands have touched—this we proclaim concerning the Word of life. The life appeared; we have seen it and testify to it,”…

• Heard –– So what did they hear? His words; the words of others; the words of the prophets; and most of all the word of the Father –– “this is my beloved Son, hear him/listen to him!”

• Seen –– So what did the see? The saw Yeshua in the flesh –– as a Jewish, first century person; they saw his works, his betrayal, death, and subsequently his resurrection and ascension.

• Touched –– So what or who did they touch? The had physical contact with him over a three year period –– his warm embrace, etc…

A Quest for the Historical Jesus/ The Jesus Quest/ A Quest for The Jewish Jesus! –– It is not so easy to reconstruct an event that took place two thousand years ago!

So how can we do it? This poses a huge challenge that is part of my quest, and which I continually attempt to answer – but let’s not lose sight of my subject at hand ––

“You are my witnesses!”

A personal testimony is in order. How did I become a convinced and dedicated witness of Jesus/Yeshua? My journey to faith was a process that developed and took many years to unfold.

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THATHAT –– Messianic Jewish Perspectives: Talking About Jesus

THATHAT: Talking About Yeshua –– Straight Talking

THATHAT: Talking About Yeshua –– “Straight Talking”

Listen to this Programme by clicking on the Link below:

I recall some years ago on talk radio there was a conversation concerning a group of faith leaders –– and the subject of sharing the Good News arose. On the panel of four, three of the members were tying themselves in knots concerning the validity of preaching, when a certain evangelical minister spoke up in the midst of the discussion –– “Tell them about Jesus and tell them for 20 minutes.” The other three were full of doubtful disputations, bar the one who had the courage of his convictions, and he wan’t afraid to say so!

The Scripture declares, if our message is veiled, then how can anyone know what we are trying to say!

Straight talking is often in short supply –– there are numerous reasons why folk don’t want to talk about Jesus/Yeshua: So why are people afraid to talk about faith and particularly, about faith in God through the mediation of Yeshua the Messiah?
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I Am The Mechanic: With God’s Help Let’s “Heal The World”––Tikkun Olam

Tikkun Olam – Heal the World

Click on Link below to Listen to Shalom Radio UK: Tikkun Olam

So let’s make a start!
The other evening during a Zoom meeting, a Messianic Jewish friend said during our discussion on what its means to be a Messianic Jews, he said that, according to Judaism its not so much a question of correct doctrine like Christianity so often insists, but to quote him, “it is much more about orthopraxy––putting into practice our faith.”

We who claim that Yeshua is the Messiah should not only believe the things he said, but equally we need to do the things he did. One without the other will lead to an unbalanced faith that will result in the many thing that we will fail to do.

1. If the reason we claim that Jesus/ Yeshua is the Messiah, the how can we help make a difference in life?” Bob Dylan’s song “Everything is Broken,” says it all. The universe is broken, meaning that imperfection has effected every aspect of life––From our viewpoint the brokenness of humankind lays at the foundations of the one of the main causes for the chaos that we experience.

2. Tikkun Olam –– “Heal the World or Repairing the World”
This phrase with kabbalistic roots has come to connote social justice.

Please don’t have a fit that we are advocating the esoteric aspects of the Kabbalah––not everything in the Kabbalistic writing is about magic. It contains a lot of good moral teaching that we can learn from.

“Tikkun Olam”
” (Hebrew for “world repair”) has come to connote social action and the pursuit of social justice. The phrase has origins in classical rabbinic literature and in Lurianic kabbalah, a major strand of Jewish mysticism originating with the work of the 16th-century kabbalist Isaac Luria. He was an ascetic and their were many very constructive things that he taught and we find some of them very similar to Eckhart Meister the great Catholic German ascetic, whose teaching led towards the development of German Pietism.This subsequently resulted in the development of the Holiness movement and subsequently to the development of Protestant piety out of which grew the Evangelical expression of the Christian faith.

Roots of the Term
The term “mipnei tikkun ha-olam” (perhaps best translated in this context as “in the interest of public policy”) is used in the Mishnah (the body of classical rabbinic teachings codified circa 200 C.E.). There, it refers to social policy legislation providing extra protection to those potentially at a disadvantage — governing, for example, just conditions for the writing of divorce decrees and for the freeing of slaves.

In reference to individual acts of repair, the phrase “tikkun olam” figures prominently in the Lurianic account of creation and its implications: God contracted the divine self to make room for creation. Divine light became contained in special vessels, or kelim, some of which shattered and scattered. While most of the light returned to its divine source, some light attached itself to the broken shards. These shards constitute evil and are the basis for the material world; their trapped sparks of light give them power.

While this viewpoint does concur with a Gnostic view of creation and the fall of humankind, we should not reject all of this out of hand as being completely wrong, and of no use at all!

Let’s weigh it in the balance and see what we can learn?

While I reject the Gnostic/Lurianic view of creation and the fall of humankind, what I do concur with is the understanding that the universe is broken. However, Isaac Lurie’s raises some very useful ideas concerning how to address the question of fixing the world.

According to the Lurianic account, the first man, Adam, was intended to restore the divine sparks through mystical exercises, but his sin interfered. As a result, good and evil remained thoroughly mixed in the created world, and human souls (previously contained within Adam’s) also became imprisoned within the shards.The “repair,” that is needed, therefore, is two-fold: the gathering of light and of souls, to be achieved by human beings through the contemplative performance of religious acts. The goal of such repair, which can only be effected by humans, is to separate what is holy from the created world, thus depriving the physical world of its very existence—and causing all things return to a world before disaster within the Godhead and before human sin, thus ending history.

In contrast as Messianic believers we believe that it is in and through the redemption of Yeshua that we are able to address how we might get involved in the desperate need ‘to help fix things.

It is not through the gathering of light and of souls, to be achieved by human beings through the contemplative performance of religious acts. There is salvation in and through our trusting in Yeshua who is ‘the light of the world.’ Religious acts within themselves may be good, but they alone do not deal with the sin problem that is the cause of the brokenness that we witness within ourselves and in the world in general.

Tikkun Olam Today
“Tikkun olam” has become such a commonly used term in liberal Jewish circles that it is the basis for a joke, in which an American Jew visiting Israel asks her guide, “How do you say tikkun olam in Hebrew?”

While contemporary activists also use the term “tikkun olam” to refer to acts of repair by human beings, they do not necessarily believe in or have a familiarity with the term’s cosmological associations. Their emphasis is on acts of social responsibility, not the larger realm of sacred acts — and on fixing, not undoing, the world as we know it.

The phrase “tikkun olam” was first used to refer to social action work in the 1950s.

In subsequent decades, many other organizations and thinkers have used the term to refer to social action programs; tzedakah (charitable giving) and gemilut hasadim (acts of kindness); and progressive Jewish approaches to social issues. It eventually became re-associated with kabbalah, and thus for some with deeper theological meaning.

The phrase “tikkun olam” remains connected with human responsibility for fixing what is wrong with the world.

Contemporary usage of the phrase shares with the rabbinic concept of “mipnei tikkun ha-olam” a concern with public policy and societal change, and with the kabbalistic notion of “tikkun” the idea that the world is profoundly broken and can be fixed only by human activity.
Tikkun olam, once associated with a mystical approach to all mitzvot, now is most often used to refer to a specific category of mitzvot involving work for the improvement of society — a usage perhaps closer to the term’s classical rabbinic origins than to its longstanding mystical connotations.

A Messianic Response
This may be equated to the concept of how we as believers may approach the healing of the world. We need to make a start with ‘repairing humankind!’ This is because human beings are one of the major contributors to ‘breaking the world,’ in the first place.

5 Marks of Mission
• To proclaim the Good News of the Kingdom.
• To teach, baptise and nurture believers.
• To respond to human need by loving service.
• To transform unjust structures of society, to challenge violence of
every kind and pursue peace and reconciliation.
• To help restore our world and working together with nature
More items…

The 5 Marks of Mission

We as Messianic believers need to assert that we have an important role to play as part of God’s Mission in the world––helping to repair the world. We are to be signpost to the reality of God’s Kingdom and God’s Kingdom Values.

We are:
• To proclaim the Good News of the Kingdom
• teach, immerse (baptise) in the name of Yeshua, and nurture believers
• To respond to human need by loving service transform unjust structures of society, to challenge violence of every kind and pursue peace and reconciliation
• To strive to safeguard the integrity of creation, and sustain and renew the life of the earth

References, accessed on 29th August 2019.

Yeshua said, “If you love me you will keep my commands.”

Helping to Fix The World:

As Messianic believers we have a God––given mandate to begin to address some of the issues that impact upon our personal world. For each of us that will be different depending on our context. Are from a Jewish heritage background? Are we from a Gentile background? Are one of your parents Jewish and the other Gentile? Where do you worship? Are you a member of a Messianic fellowship? A Christian church? Which denomination? Catholic, Orthodox, or Protestant?

These ‘Five Marks of Mission,’ should be part of our attempting ‘heal the world.’ One of the most important issues is that we need to recognise that it is only in and through the saving grace of God, in Yeshua Ha Mashiach that the beginning of the ‘fixing’ can begin.

Not Just a Band Aid Strip is Needed!
The sticking plasters solution is only of temporary use––we need to dig into the wound of what is hurting to find a more full-time solution.
Yeshua said:
‘the truth will set you free, and you will be free indeed!’ No more telling lies or half-truths will do. Don’t tell people what they want to hear, and fail to tell them the truth because we are afraid that they may not like what we have to say.

Don’t try and fix everything all at once –– choose one aspect from the Five Points of Mission, and explore how you may attempt to address that point of focus. One step at a time and trust God to give you wisdom and lead you onward. Amen.


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MaxRon Discussions: A Veil Over Face, Hearts and Minds

A Veil Over Faces, Hearts & Minds

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Why do people use veils?

In different cultures veils fulfil numerous religious, social and cultural significance and are still very important in many parts of the world.

Women and the veil

Subjugation, honour, dis-honour, respect and decorum are some of the reasons that women wear the veil. Sometime women don’t have a choice, this is particularly in strict Islamic countries.

Moslem women with veils

Marwari Bheel women in India and Pakistan

Jewish bride wearing a partial veil covering her hair on her wedding day

Some religious reasons for wearing veils

It does appear that the Koran does not stipulates that the veil must be warn by women, but it is imposed upon them by the men within their culture. One of the reasons given is to prevent men for lusting after a women. Notwithstanding, this has become a means of abuse and subjugation of women. When the Taliban took control of Afghanistan recently, the wearing of the veil by all women outside of their homes once again became mandatory.

Within Judaism, religious Orthodox Jewish women are required to cover their heads––this is due to the fact that a married women’s hair is considered her ‘crown of glory,’ that only her husband should see. Young girls and single women are not required to cover their heads.

The Marwari Bheel women also veil themselves before strangers and when outdoor as a sign of decorum––they are mostly found among the low cast Hindus and Moslem women.

Men and veils

Why do men wear veils? This appears in the Biblical narrative and this tradition began with Moses when he had been in the presence of God:

Moses veiled his face


Why did Moses have to wear a veil?


When God…

...Gave the Torah to Israel, He did so accompanied by an overwhelming atmospheric display of thunder and lightning, smoke and fire, and the sound of a trumpet on the top of Mt. Sinai. This was to warn the people that He is holy and should not be approached. Anyone who tried to come up the mountain would be killed. (See Exodus 19 and Hebrews 12:18–19.)

When God delivers the Ten Commandments, the people are so frightened that they are afraid to have God speak. They ask that Moses deliver the Torah instead (Exodus 20:18–21). So Moses approaches God and receives the Torah in Exodus 21–23. He delivers it to the people who are called to affirm their willingness to obey in chapter 24.

After the sin of the Golden Calf had been dealt with, God invites Moses to come back up the mountain to receive the Torah again, engraved on new tablets of stone. Moses goes up the mountain alone and meets with God. There he begs for pardon for the nation. God forgives and renews the covenant with Israel and once again provides a summary form of the Torah, the Ten Commandments (see Exodus 34:1–27). Moses spends 40 days and nights with God on the mountain, and during that time he did not eat or drink (verse 28). It seems that the glory of God sustained him.

After spending this extended amount of time with God, Moses comes down the mountain, and his face is shining with the glory of God (Exodus 34:29). We don’t know exactly what this would have looked like, but it was frightening to his brother, Aaron, the high priest; and to all the rest of the people. Because everyone was afraid to come near Moses (verse 31), he wore a veil over his face to shroud the glory (verses 33–35).

The story of Moses’ veil as recorded in the Tenach (OT) is pretty clear. But Paul’s mention of the veil in the New Testament has caused some to take a second look at the reason Moses chose to wear a veil. Second Corinthians 3:13 says, “We are not like Moses, who would put a veil over his face to prevent the Israelites from seeing the end of what was passing away.” This makes it sound as if Moses put the veil over his face to prevent the Israelites from seeing that the glory was beginning to fade. When 2 Corinthians 3:13 is read in the context of Paul’s argument, we find that it says nothing about Moses’ motive for veiling his face.

In 2 Corinthians 3, Paul is contrasting the glories of the First and Renewed Covenants, and he concludes that the Second/Renewed Covenant reveals a more glorious future for the People of God.

• The First Covenant was written on tablets of stone; the Renewed Covenant is written on the heart (verse 3).

God goes to a deeper level with his revelation to all his people of the Renewed Covenant!
• The First Covenant has a glory that is renewed and the glory grows brighter shining in the face of Yeshua HaMashiach! (verses 10–11).

We as ministers of the Renewed Covenant –– like Moses, we become ministers proclaiming the unfading glory in a bold manner.

Why did Moses wear a veil?

The main focus is that of the First Covenant is renewed by the unfolding revelation of God––While the shining of Moses’ face did fade, when the individual turns to God through Yeshua the Messiah––just as on the Mount of Transfiguration so too the believer goes from one degree of glory to another!

The “veil” prevents anyone who does not yet have faith from seeing the true glory of God. The veil is only taken away when they turn to Messiah! (2 Corinthians 3:14–16).

The veil in Jewish and Christian understanding

Alas this aspect of the veil over hearts and minds is not desirable and perpetuates old hatreds and animosities –– Jewish spiritual blindness and Christian blindness more full explored…

Removing the veil

How do we assist in removing the veil?..

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For further information about Max’s publications –– these appear near the end of this blog

For Ron’s info:

For Roni’s book: A Quest for The Jewish Jesus to purchase it at Amazon –



The Book is also available as an e-book on Kindle

Eilsheva’s Biblical Perspectives:

Plus her book are available from Amazon

Simone Weil

MTMI––Messianic Teaching Ministry International

To help with covering the cost of this Blog, please make a charitable donation now to: Shalom Radio UK:

Shalom Radio UK –– MTMI: Messianic Teaching Ministry International

For Max’s Information refer below,

Max’s Books

Please visit Max’s Blog:

  • To Listen to the pevious two programmes follow the Link below: MaxRon Discussions: How to Interpret the Scriptures
  • MaxRon Discussions: Dispelling Confusion
  • – Bible Translations

    Shalom Radio UK:

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    MTMI –– Messianic Teaching Ministry International

    MaxRon Discussions: The Jewish Book of Why? Part 2

    The Jewish Book of Why? Part 2: A Messianic Jewish Perspective on “Why?”

    Click on Link Below to Listen Now:

    As way of Introduction From a Messianic Jewish viewpoint, while we agree with Alfred Kolatch on some of his ideas concerning Jewish faith and practice, there are points on which we express things differently. Notwithstanding, he still has many worthwhile subjects that are worthy of our consideration.

    So Why?
    • do bad things happen to good people?
    • did six million Jews die in the holocaust? It was not so much a question as ‘to where was God?’ Rather it was the case of ‘where was humankind?’

    • did nearly half million of those who died under the Nazis identify themselves as Jesus-believing-Jews? There were at least two churches in Warsaw Ghetto that Jewish believers regularly worshipped in.
    • do some people blame the Jews for pandemics? The Black Death, 1918 Flu, and Covid-19?

    • do some say the Jews control world-world finances?

    • that all Jews are wealthy?

    • do people persecute the Jewish people?
    • do Jewish people believe in One GOD?
    • do most Jewish people not accept Yeshua as Lord and Messiah?
    • do folk say that Jesus-believing-Jews are no longer Jewish?
    • are some Jewish people called Messianic Jews/ Hebrew Catholics, Hebrew Christians (Protestants), etc.,?

    • Why do some Messianic fellowships separate themselves from the church?

    • are Gentile believers called Christians/ Messianic believers,
    • do some say that the Jews have fulfilled their role since Christ came?

    What future is predicted: • for the Jewish people? • for the church? • for those who have embraced Yeshua as Messiah and Lord?

    Please visit Max’s Blog:

    Click on the Link:

    Elisheva Mechanic’s two Book – Available from Amazon

    Elisheva’s Biblical Perspectives Parts 1 & 2:

    MTMI––Messianic Teaching Ministry International

    To help with covering the cost of this Blog, please make a charitable donation now to: Shalom Radio UK:

    Shalom Radio UK –– MTMI: Messianic Teaching Ministry International

    Elisheva’s Biblical Perspectives: Part 2 –– God’s Luminaries

    Meet God’s Luminaries

    In today’s programme we continue to look at an introduction to Christian theology. Christian community is vital to our understanding of Theology. Also developing our relationship with God through prayer is important.

    Two of the theologians that I introduce in the first chapter of my book Getting to Know God: An Introduction to Christian Theology are St Augustine of Hippo (354 C.E.- 430 C.E.) and Simone Weil (1909-1943).They came from different parts of the world and lived in very different eras. Augustine was from North Africa and became the most celebrated theologian of the Western world. He is still important for today and we can learn much from the books that he wrote. In the programme I read an excerpt about Augustine from my book Growing to Love God: An Introduction to Christian Spirituality. This book is available through Amazon. Simone Weil was born in 1909 in France and fled to England. She was from a secular Jewish background and came to faith in Jesus. Listen to more about these two theologians in the programme.

    I address the challenge of finding out about Jesus. Since he is part of the triune Godhead I also look at God the Father and the Holy Spirit later on in the book.

    In the programme I explain the meaning of the word theology. This leads on to questions of life such as “Why am I here?” and “Who is God?” “Who is Jesus?” and “What is the purpose of being on the earth?”

    Theology also has resources to address the problems of today’s world. While the Bible may not have anything to say directly about some of the problems we face it can certainly help us decide how we can approach them in a Godly and just way.

    Many of the questions are unique to each person. God has a plan and purpose for this earth and for each one of us. How do we discover answers to these questions? The Bible helps us to understand our relationship with Jesus and enables us to grow daily and guides us through life.

    It is important in the study of theology to grapple with the big questions. As we look at Jesus we ask “Why did he come into the world?” A branch of theology is Christology which comes from the word Christ or Messiah and deals with the issues of the person and work of Jesus. At the end of Chapter One there are some study questions. One of these is “How can the study of theology help us to reflect on the questions of life?”

    An Icon of St Augustine

    Simone Weil

    MTMI––Messianic Teaching Ministry International

    To help with covering the cost of this Blog, please make a charitable donation now to: Shalom Radio UK:

    Shalom Radio UK –– MTMI: Messianic Teaching Ministry International