4 min read

Ezekiel Saw the Heavens Tear Open at the Chebar Canal

In Babylonian exile, Ezekiel watches the sky tear open. Fire, wheels full of eyes, and four impossible creatures arrive bearing the throne of God.

Curated by Arthur · Told by Maggid ·
Table of Contents
  1. A Priest Without a Temple
  2. The Storm From the North
  3. Wheels Covered in Eyes
  4. What the Mystics Made of It

A Priest Without a Temple

He was thirty years old in Babylonia when the sky broke open. The age at which a priest enters the full weight of his service, and Ezekiel ben Buzi was a priest with nowhere to serve. The Temple still stood in Jerusalem, but he had been carried off with the first wave of exiles by Nebuchadnezzar, and here he sat on the bank of the Chebar Canal, a flat and featureless country, the sky enormous above him, God impossibly far away.

It was the fifth year of King Jehoiachin's exile. The fourth month, the fifth day. Ezekiel would remember those numbers the rest of his life, because on that day the heavens opened and the priest without a Temple received something no Temple had ever contained.

The Storm From the North

A wind came first, from the north, and within the wind a vast cloud flickering with fire, surrounded by radiance, and at its center something that looked like gleaming amber. Four creatures emerged from the fire. Each had four faces: one a human face, one a lion's face, one an ox's face, one an eagle's face. Each had four wings. Their legs were straight, their feet like the soles of a calf, flashing like burnished bronze. Human hands lay beneath their wings.

They did not turn when they moved. They went straight in whatever direction the spirit intended, without pivoting, without hesitation. Wherever they moved, they moved as one body. Fire ran between them like torches. Lightning flashed from the fire.

Wheels Covered in Eyes

Beside each creature was a wheel. The wheels were tall and frightening, their rims full of eyes all the way around, watching in every direction at once. The wheels moved with the creatures and lifted with the creatures. When the creatures rose from the ground, the wheels rose. When the creatures stopped, the wheels stopped. Whatever the spirit willed, that is where everything went, together.

Above the creatures was a vault, spread out and gleaming like ice. Under the vault the sound of their wings was like the sound of a great rushing of waters, like the voice of the Almighty when he speaks, like the noise of a vast encampment. When they moved, the roar filled the air. When they stopped, they lowered their wings.

Above the vault was a throne that looked like sapphire. On the throne was a form that looked like the appearance of a human being, shining like fire above and below the waist, surrounded by a brightness like the bow that appears in the clouds on a rainy day. Ezekiel saw it and fell on his face.

What the Mystics Made of It

That prostration began a tradition. Every detail of the vision became a field of study. The four faces, the eyes in the wheels, the gleaming vault, the throne above it all became the core of Merkavah mysticism, the sustained attempt to understand what the prophet had glimpsed. Later mystics studied Ezekiel's words the way other scholars studied law, approaching each phrase with the conviction that more was hidden inside it than any single reading could recover.

The chariot was alive. Its structure praised. The wheels were not mechanical objects but beings. The throne above all the wheels and creatures and fire was not sitting still but moving, carried across the heavens by forces that were themselves acts of worship. What Ezekiel had seen by the Chebar Canal was not a static arrangement but a world in constant motion, everything in it directed toward the one enthroned at its center.


← All myths

From the tradition

Sources

2 sources

The texts this telling draws on, in full. Open a card to read inline, or expand it for a wider, quieter read.

4Q405 20-22Songs of the Sabbath Sacrifice (4Q400-407)

The climax of the Songs of the Sabbath Sacrifice arrives in the twelfth and thirteenth songs, when the text finally reaches the inner sanctum of the heavenly Temple. And encounters the divine chariot-throne (Merkavah, מרכבה). The language here is among the most intense in all ancient Jewish literature.

The chariot is alive. Its very structure speaks and sings. "The wheels of the wonderful chariot praise," the text says. "The cherubim bless the image of the throne-chariot above the vault of the cherubim." The throne itself radiates a fire that is simultaneously terrifying and beautiful, "like the appearance of fire", echoing (Ezekiel 1:27) but expanding the vision into a full sensory experience. Light, sound, and movement merge into a single overwhelming encounter with the divine presence.

The description includes details not found in Ezekiel. The "vestibule" of the divine throne has walls of living light. The floor beneath the throne shines "like the appearance of fire." Angelic beings move in and out of the fire without being consumed, recalling the burning bush that was not consumed in (Exodus 3:2). The entire inner sanctum is a world made of fire and light, where solid matter does not exist and everything is in constant luminous motion.

These passages are the earliest evidence we have for the Merkavah mystical tradition, the practice of meditating on the divine chariot that would later produce the Hekhalot (the heavenly palaces) literature and deeply influence Kabbalah. The Dead Sea community was not just reading about the throne of God. By chanting these songs on Sabbath mornings, they believed they were ascending to it. The songs were not descriptions. They were vehicles, liturgical chariots carrying the worshipper from the desert floor to the throne room of heaven.

Full source
Kalach Pitchei Chokhmah 13:4Kalach Pitchei Chokhmah

The mystics of old wrestled with this all the time, particularly when contemplating the Divine Chariot, the Merkavah (the Divine Chariot), described by the prophet Ezekiel (Ezekiel 1). What does it look like, this vehicle of God's presence? And how do we even begin to understand such a vision?

That's precisely what the ancient text, Kalach Pitchei Chokhmah (Wisdom), "138 Openings of Wisdom," seeks to illuminate. It dives deep into the complexities of prophetic visions, offering us glimpses into the very structure of spiritual reality. After laying a general groundwork, it turns to the specific details, the nuts and bolts, so to speak, of the Merkavah.

One of the first, most fundamental questions it asks is: What form do the Sefirot (the divine emanations) take?

The Sefirot, these are the ten emanations, the ten attributes through which the Divine manifests in the world. Think of them as the building blocks of creation, the channels of God's infinite light. But how do they appear in the prophetic vision? Do they arrange themselves in a circle, or stand upright, in a linear fashion?

Kalach Pitchei Chokhmah presents us with these two possibilities right from the start.

The text explains that the forms we see in prophetic visions are not to be taken literally, as physical shapes. They're symbolic representations, hints at deeper, spiritual realities. These forms offer us a framework for understanding the unfolding of the Divine will, how the Infinite becomes knowable.

Think of it like this: imagine trying to describe a complex emotion like love. You might use metaphors – a warm fire, a gentle breeze, a sturdy oak tree. These aren’t literally love, but they give us a way to grasp its essence. Similarly, the circular and upright forms are ways of conceptualizing the Sefirot.

So, what's the difference between them? Why both? The text goes on to explore the circular and upright, linear schemes in which the Sefirot appear. One arrangement speaks to a sense of cyclical completion, encompassing all within its bound. The other suggests a linear progression, a chain of cause and effect, a journey from one point to another.

These aren't just abstract concepts. They reflect different aspects of the Divine, different ways in which God interacts with the world.

The Kalach Pitchei Chokhmah is inviting us to contemplate not just the what of the Divine Chariot, but the how. How does the infinite become finite? How does the unseeable become seen, even if only in a symbolic, prophetic glimpse?

And perhaps, by wrestling with these questions, we can begin to glimpse that hidden architecture ourselves.

Full source