Exodus from Egypt

The Sarajevo Haggadah manuscript.

EXODUS AND TRAVELS OF THE ISRAELITES IN THE DESERT
Fol. 27v, A (Scene 65) – Exodus from Egypt
ותחזק מצרים על העם / ובני ישראל יוצאים ביד רמה / משארותם צרורות ("The Egyptians urged the people [to hurry and leave the country] [Ex. 12:33] / the Israelites were departing defiantly [Ex. 14:8] / their kneading bowls wrapped [in their cloaks upon their shoulders] [Ex. 12:34].")

The scene is dominated by a group of Israelites marching out of Egypt, symbolized by a partially depicted crenellated castle at right, with a few Egyptians at its gate urging the Israelites to depart. Following closely the biblical narrative and selected midrashic sources, the artist depicted the group with great attention to details showing its supremacy. Thus, the group is shown marching with the cattle and animals before (partially shown) and after them, while holding with their left hands their wrapped kneading bowls. Of special interest are, however, the raised hands of five figures in the group that are raised high above, showing the way to the cheerful group with self assurance. This is a literal depiction of the Hebrew expression in the verse cited above the miniature be-yad rama (Ex. 14:8). Though it is generally translated "defiantly" or "triumphantly" it literally means "with a high hand". Indeed, since late antiquity, various interpretations were offered as to the symbolic meaning of the expression – to Onkelos, the traditional translator of the Torah, it meant "with an uncovered head" – implying boldly or without fear, while the medieval commentator Rashi understood it as "With lofty and openly displayed might". Sephardi commentators, in particular Ramban (Naḥmanides), developed further this idea and explained that the Israelites went out of Egypt as freed people knowing that they won't go back to slavery – and thus be-yad rama means they made for themselves flags and banners to wave high as they marched cheerfully and with happy singing, playing drums and lyres. Though not all these details are depicted, the artist inserted other motifs that allude to this prevalent understanding of the verse. Some of the Israelites are thus armed with swords – which follows only some of the commentators, whether on this verse or Ex. 13:18. Finally, though not clearly visible but based on the implied position of the hands, these are probably the five figures' raised right hands – implying another familiar verse: "The Lord’s right hand is lifted high; the Lord’s right hand has done mighty things!” (Psalms 118:16).

Fol. 27v, B (Scene 66) – The Egyptians Pursue Israel and Moses Parting the Red Sea

וירדפו מצרים אחריהם / הרם את מטך ונטה את ידך על הים ("The Egyptians pursued them [i.e., the Israelites] [Ex. 14:9] / [The Lord said to Moses…]: 'And you lift up your staff and hold out your arm over the sea [Ex. 14:16]").
The Egyptian cavalry comprised of armored horse riders is shown at left. With their shiny silver helmets, decorated shields and lances, as well as the raised staff with a heraldic white banner, they resemble medieval Iberian knights marching to battle. A crenellated narrow tower on a small grassy hill separates the Egyptians at right and the Israelites at left. Dressed in a long blue gown and hooded, Moses is shown holding his staff in his left hand, as he parts the sea into two sections, marked by blue waves, especially visible in the upper section. Some of the Israelites, carrying wrapped kneading bowls on their shoulders, are already crossing over the divided sea while others, behind Moses, are about to follow them. One of the Israelites, in the background, possibly serving as a rear-guard, turns towards the approaching Egyptians and apparently warns them with his pointed finger.

Nearly the entire area surrounding the miniatures has been filled with doodles of the figure 2, as well three doodles of 1 and one of 5 (hence Werber's suggestion that the repeated doodle may also be the Sephardi letter 'k' is unlikely). A few other doodles of this figure appear also in the subsequent illuminated folios (29v and 30r). Werber suggests that they are the work of a child from the nineteenth century, but this cannot be ascertained and it is not unlikely they were added earlier. Curiously, this page influenced Israeli artist Arieh Aroch (1908-1974) to create a painting based on the doodles, since, as he explained, they evoked in him the feeling of "a human work of art, imbued with a thrilling musical rhythm and, if you like, full of expression and content."

Fol. 28r, A (Scene 67) – Crossing the Red Sea
ובני ישראל הלכו ביבשה / וינער י"י את מצרים [בתוך הים] ("The Israelites marched on dry ground [in the midst of the sea] [Ex. 14:29] / But the Lord hurled the Egyptians [into the sea]" [Ex. 14:27]).

The miniature is divided into four curved strips or paths, in which take place the story of the miracle side by side, or in parallel with, the defeat of the Egyptians. Two paths, the smaller top one and the third, are dedicated to the victorious Israelites walking on dry land in the midst of the sea that had just been split by their leader. The wider third path depicts marching men, women and children, holding the wrapped lumps of dough, while two figures (possibly Moses and Aaron) point the way. In the upper path, the artist only had room to illustrate a few partial figures. The crossing of the Red Sea in two paths rather than one, as is generally imagined and depicted, apparently alludes to wish of the artist or his patron(s) to evoke the midrash that explains how the twelve tribes could cross the Red Sea at one time. The favored interpretation, which is already depicted in the third century synagogue of Dura Europos, is that the sea split into twelve lanes, one for each tribe (e.g., Exodus Rabbah, 24, 1; Mekhilta, Be-Shalaḥ). Here, however, only two "lanes" are shown (as in the Rylands Haggadah) – either just to allude to the legend or for lack of space.

The two other strips in the miniature, the second and fourth, depict the armored Egyptians and their horses drowning in the blue waves of the Red Sea. One figure though is shown in the third path at left, walking tall and erect. This is King Pharaoh, recognized by his royal garment and golden crown, who according to some midrashic resources (for example, Pirkei Rabbi Eliezer, 43), was alone saved while all his cavalry drowned – so that there would be at least one survivor to tell the story of God's might and the miracle on the sea. And although authorities such as the Sephardi Ibn Ezra rejected this midrash (based on the specific words in verse: "not one of them remained" [Ex. 14:28], several Haggadot, as well as works of Christian art, do clearly highlight the saved king.

Fol. 28r, B (Scene 68) – Dance of Miriam
ותקח מרים הנביאה אחות אהרן את התוף ("Then Miriam the prophetess, Aaron’s sister, took a timbrel in her hand [and all the women went out after her with timbrels and with dances] [Ex. 15:20]").
"The Song of Miriam", a favorite topic in Sephardi Haggadot, is here represented by the prophetess standing apart at left, playing a timbrel (resembling modern tambourine), which she holds up, while a group of five girls (the right one only partially visible) are dancing while holding hands. Miriam is elegantly dressed with an upper cloak over her long gown, and her head is modestly covered. The heads of the Israelite girls on the other hand are uncovered; each is dressed in a simpler and differently colored garment, while their bodies are shown moving elegantly to the sound of the musical instrument held by Miriam.

The Sarajevo Haggadah manuscript is an exquisite example of Medieval Hebrew illuminated and decorative art. The Haggadah (story) is a Passover Haggadah read during the Jewish feast of Passover. It contains a collection of lyrical works from the “Golden Age” of Jewish-Arab culture from the 10th-13th centuries, prayers for the Passover feast and instructions for the evening prayer on Passover eve. It’s one the first, perhaps only, illuminated Jewish manuscripts and has survived a range of trials and tribulations over the centuries. It evokes times when Christians, Jews and Muslims lived together in medieval Spain and offers testimony to the expulsion of Jews from Spain.