In Jewish study, there are four levels of understanding the Torah (P’Shat, Remez, Drash, and Sod). P’Shat is the lowest level, that of the literal story. Remez is the “midrashic” level, related to understanding the simply moral of the literal story. Drash is a bit more sophisticated, understanding a more complex meaning of the story. Finally, Sod is the level of the secret, where the Kabbalistic understanding of a story is found and hence its highest and truest meaning. The acronym created by putting together the first four letters of each level is “Pardes,” which means and is related to the English word “paradise.” This piece celebrates the journey through all four levels which leads us through the door to our own personal paradise. You can find the word “Pardes” etched near the top right of the door next to its numerical value of 344.

One of the main goals of Sgulah is to help each and every person build his/her own personal bridge between the physical world in which we all struggle and the spiritual world which holds the secrets and tools to lead happy, regretless lives. This painting celebrates that journey in image and letter. Above the bridge, you will find the word “Gesher,” meaning “bridge” next to its numerical value of 503.

Sometimes, the greatest enlightenment can be found in the brief moments when we can silence our minds and achieve serenity inside ourselves, even when the outside world continues to bustle and move at light speed. This piece represents that correlation and elusive happenstance. On the second column from the left, we see the word “Sheket” (Shin-Kuf-Tet) meaning “quiet” with its numerical value of 409 right above the word “Ohr” meaning “light” next to its numerical value of 207. This number also corresponds to the word “Secret” or “Raz” in Aramaic, meaning that maybe sometimes the secret to bringing in light is to darken the sounds and distractions around us.

This addition to the forest series differs from the norm in the sense that it actually pays to tribute to a historical figure, an uncommon occurrence in Rava’s works. First, it’s important to note the basic Kabbalistic message in the work. In the middle space between the trees, we see the words “Elokim” (Alef – Lamed – heh – Yud – Mem) and “HaTevah” (Heh – Tet – Vet – Ayin). Elokim is the aspect of G-d associated with judgment and the physical world, whereas HaTevah means “nature.” Of course, they are accompanied by their shared numerical value of 86 nearby, which number is repeated at the bottom of the division, right where the sky meets the forest floor in the center of the painting. The message is of course abundantly clear: G-d and the natural world, the purest manifestation of His presence in our world, are one. The other important theme in this painting is the inclusion of the name “Baruch Spinoza” on the floor of the painting (the “Samech” of Spinoza is under the right-most tree, the word “Spinoza” follows, and then to the left is the name “Baruch”). Spinoza was a prominent 17th Century Jewish philosopher from Amsterdam. He is considered one of the great rationalists of 17th-century philosophy and, by virtue of his magnum opus the Ethics, one of the definitive ethicists. His book is called the Ethics because the main purpose of the book is to show that the ethical and content (i.e., spiritually balanced) life can be attained by the life of reason and thought, which for Spinoza is literally contemplating G-d (the one infinite substance). Spinoza also says that one will attain comfort by realizing that all things are predestined and cannot be changed. Basically, everything happens by G-d's will. We should not fear for the future.

“As above, so below” goes the ancient saying. This painting represents that idea through the connection between the heavens and the waters. In Hebrew, the “heavens” or “skies” are called “Shamayim” (Shin-Mem-Yud-Mem) which is in the top right of the painting next to its numerical value of 390. However, in the waters below you find the word “Mayim” (Mem-Yud-Mem), which means water, next to its numerical value of 90. As you can see, the only difference between the words is the addition of the letter “Shin” to the word “Shamayim,” denoting the inherent connection between the above worlds and the lower worlds.

In Kabbalah, the number 91 is of immense importance. Though it is connected to myriad ideas, its main thrust is that of a connection between the higher worlds and our physical world, as expressed by the word “Amen,” which has a numerical value of 91. Interestingly, though, the main, unspeakable name of G-d, “YHVH,” has a numerical value of 26, but the name we connect to verbally when saying blessings instead of “YHVH” is “Adonai” which has a numerical value of 65. Together, the higher name and lower name combine to make 91, which is why the Amen is so important. So, too, in this painting we see 91 again, though this time describing the importance of angels in our lives. In Kabbalah, angels are nothing more than conduits of energy, just like the concept of the Amen. Appropriate then, that, the word for angel in Hebrew, “Malach” (Mem-Lamed-Alef-Chaf), which can be found at the top of the piece, also has a numerical value of 91, etched right next to the word.

This piece is an exemplary imagining of the concept of balance. Above the right window, you see the word “Yareach” (Yud-Resh-Het), meaning “moon,” next to its numerical value of 218. But on the opposite window is the word “Shemesh” (Shin-Mem-Shin), meaning “sun,” next to its numerical value of 340. The symmetry is furthered by use of the Hebrew alphabet. The letters Alef and Bet appear on the right, whereas the Gimel and Dalet appear on the left. Next, Hei, Vav, and Zayin appear on the right, whereas Het, Tet, and Yud appear on the left, completing the first ten letters of the Hebrew alphabet in perfect balance.

This riveting blue-themed painting is one of many that features the distinctive canals and staircases that inspire Rava in his native Venice, Italy. The Kabbalistic significance of this painting is hidden within the yellow-tinted skies. To the right, one will notice the word “Bet” (Bet-Yud-Taf) next to its numerical value of 412 to its right. This word means “house.” Moving left, just above the tree, one will notice the word “Din” (Dalet-Yud-Nun), which means “judgment,” next to its corresponding value of 64. Together, the “Bet Din” is a very important concept in Judaism and Kabbalah. The House of Judgment is the courthouse, which is frequently used as an allegory in Kabbalistic writings. The negative force in the universe is the Prosecutor, while we are the defendants, answering for the many disconnections we commit in our daily lives and suffering the inevitable consequences. However, as is always the case in Kabbalah, the “Sgulah” (remedy) is given with the malady. In between the two words, one will notice the word “Sheket” (Shin-Kuf-Tet), meaning “silence,” next to its corresponding value of 409. The meaning here is clear: study of the Hebrew words and letters and incorporation of the study into our daily lives “silences” the “House of Judgment” and hence, we live happier, fuller, less chaotic lives… the kind of existence brought to mind by the tranquil vision of the canals and homes exemplified here.

“Sogni e verita” features a beautiful Venetian hallway, open to one side to the infinitely vast forest featured in many of Rava's other works (see Sgulah website). The Hebrew letters present in this serene painting are sparse and well hidden, but an observant eye will notice the delicately placed "EMET" (Aleph – Mem – Taf), the Hebrew word for "truth" and an important Kabbalistic concept in its own right, along with its numerical value of 441, in the center of the first arch. The number 441 is important because it is the square of one of the holiest names of The Creator, "Ehyeh" spelled "Aleph –Hai – Yud – Hai." This name is first seen in the Torah when G-d speaks to Moses, and refers to himself as "I am what I am." The name has a numerical value of 21, with a square of 441. Kabbalistically, the square is the "perfection" of a number. That the word "truth" should have the same numerical value as the square of Ehyeh denotes the intrinsic connection between truth and divinity, and hence the ever elusive truth that is the result of a connection with the infinite system.