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For a series of Israeli main battle tanks, see Merkava.
The Hebrew word Merkabah (מרכבה "chariot", derived from the consonantal root r-k-b with general meaning "to ride") is used in Ezekiel (1:4-26) to refer to the throne-chariot of God, the four-wheeled vehicle driven by four chayot "living creatures", each of which has four wings and four faces (of a man, lion, ox, and eagle). In medieval Judaism, the beginning of the book of Ezekiel was regarded as the most mystical passage in the Bible, and its study was discouraged, except by mature individuals with an extensive grounding in the study of traditional Jewish texts.
Jewish biblical commentaries emphasize that the imagery of the Merkaba is not meant to be taken literally; rather the chariot and its accompanying angels are analogies for the various ways that God reveals Himself in this world. Maimonides in his 13 principles of faith emphasizes that God is not limited to any particular form, as this prophesy might seem to imply. Hasidic philosophy and Kabbalah explain at length what each aspect of this vision represents in this world, and how they in no way imply that God is made up of these forms. The danger of understanding these passages as literal decriptions of God's image likely accounts for the opposition among Torah scholars towards learning this topic without the proper initiation. Jews customarily read the Biblical passages concerning the Merkaba in their synagogues every year on the holiday of Shavuot. The Merkabah is also referenced in several places in traditional Jewish liturgy.
 In Jewish commentary
The earliest Rabbinic merkabah commentaries were exegetical expositions of the prophetic visions of God in the heavens, and the divine retinue of angels, hosts, and heavenly creatures surrounding God. The earliest evidence suggests that merkabah homiletics did not give rise to ascent experiences - as one rabbinic sage states: "Many have expounded upon the merkabah without ever seeing it" (Tosefta' Megillah 3:28).
The Talmudic interdictions concerning merkabah speculation are numerous and widely held. Discussions concerning the merkabah were limited to only the most worthy sages, and admonitory legends are preserved about the dangers of overzealous speculation concerning the merkabah. The sages Rabbi Yochanan Ben Zakkai (d. ca. 80 CE) and later, Rabbi Akiva (d. 135) were deeply involved in merkabah exegesis. Rabbi Akiva and his contemporary Rabbi Ishmael ben Elisha are most often the protagonists of later merkabah ascent literature.
Beyond the rabbinic community, Jewish apocalyptists also engaged in visionary exegeses concerning the divine realm and the divine creatures which are remarkably similar to the rabbinic material. A small number of texts unearthed at Qumran indicate that the Dead Sea community also engaged in merkabah exegesis. Recently uncovered Jewish mystical texts also evidence a deep affinity with the rabbinic merkabah homilies. Recently, considerable scholarly attention has been paid to the use of merkabah themes in early Jewish-Christian circles. 
The merkabah homilies eventually consisted of detailed descriptions of multiple layered heavens (usually seven in number), often guarded over by angels, and encircled by flames and lightning. The highest heaven contains seven palaces (hekhalot), and in the innermost palace resides a supreme divine image (God's Glory or an angelic image) seated on a throne, surrounded by awesome hosts who sing God's praise.
When these images were combined with an actual mystical experiential motif of individual ascent (paradoxically called "descent" in most texts) and union is not precisely known. By inference, contemporary historians of Jewish mysticism usually date this development to the third century CE. Again, there is a significant dispute amongst historians over whether these ascent and unitive themes were the result of some "foreign," usually Gnostic, influence, or a natural progression of religious dynamics within rabbinic Judaism. 
 The Biblical Merkaba
According to the verses in Ezekiel and its attendant commentaries, the analogy of the Merkaba image consists of a chariot made of many angels being driven by the "Likeness of a Man." Four angels form the basic structure of the chariot. These angels are called the "Chayot" חיות (lit. living creatures). The bodies of the "Chayot" are like that of a human being, but each of them has four faces, corresponding to the four directions the chariot can go (north, east south and west). The faces are that of a man, a lion, an ox (later changed to a child or cherub) and an eagle. Since there are four angels and each has four faces, there are a total of 16 faces. Each Chayot angel also has four wings. Two of these wings spread across the length of the chariot and connected with the wings of the angel on the other side. This created a sort of 'box' of wings that formed the perimeter of the chariot. With the remaining two wings, each angel covered its own body. Below, but not attached to the feet of the "Chayot" angels are other angels that are shaped like wheels. These wheel angels, which are described as "a wheel inside of a wheel", are called "Ophannim" אופנים (lit. wheels, cycles or ways). These wheels are not directly under the chariot, but are nearby and along its perimeter much like the wheels of a car. The angel with the face of the man is always on the east side and looks up at the "Likeness of a Man" that drives the chariot. The "Likeness of a Man" sits on a throne made of saphire.
The Bible later makes mention of a third type of angel found in the Merkaba called "Seraphim" (lit. burning) angels. These angels appear like flashes of fire continuously ascending and descending. These "Seraphim" angels functioned somewhat like pistons in that they powered the movement of the chariot. In the hierarchy of these angels, "Seraphim" are the highest, that is, closest to God, followed by the "Chayot", which are followed by the "Ophannim". The chariot is in a constant state of motion, and the energy behind this movement runs according to this hierarchy. The movement of the "Ofanim" is controlled by the "Chayot" while the movement of the "Chayot" is controlled by the "Serafim". The movement of all the angels of the chariot are controlled by the "Likeness of a Man" on the Throne.
 A Hasidic explanation
Hasidic philosophy explains that the Merkaba is a multi-layered analogy that offers insight into the nature of man, the ecosystem, the world, and teaches us how to become better people.
The four Chayot angels represent the basic archetypes that God used to create the current nature of the world. Ofannim, which means "ways", are the ways these archetypes combine to create actual entities that exist in the world. For instance, in the basic elements of the world, the lion represents fire, the ox water, the eagle earth, and the man wind. However, in practice, everything in the world is some combination of all four, and the particular combination of each element that exist in each thing are its particular Ofannim or ways. In another example, the four Chayot represent spring, summer, winter and fall. These four types of weather are the archetypal forms. The Ofannim would be the combination of weather that exists on a particular day, which may be a winter-like day within the summer or a summer like day within the winter or whatever.
The Man on the throne represents God, who is controlling everything that goes on in the world, and how all of the archetypes He set up should interact. The Man on the throne, however, can only drive when the four angels connect their wings. This means that God will not be revealed to us by us looking at all four elements (for instance) as separate and independent entities. However, when one looks at the way that earth, wind, fire and water (for instance) which all oppose each other are able to work together and coexist in complete harmony in the world, this shows that there is really a higher power (God) telling these elements how to act.
This very lesson carries over to explain how the four basic groups of animals and the four basic archetypal philosophies and personalities reveal a higher, godly source when one is able to read between the lines and see how these opposing forces can and do interact in harmony. A person should strive to be like a Merkaba, that is to say, he should realize all the different qualities, talents and inclinations he has (his angels). They may seem to contradict, but when one directs his life to a higher goal such as doing God's will (the man on the chair driving the chariot) he will see how they all can work together and even complement each other. Ultimately, we should strive to realize how all of the forces in the world, though they may seem to conflict can unite when one knows how to use them all to fulfill a higher purpose, namely to serve God.
 Key Texts
The ascent texts are extant in four principal works, all redacted well after the third but certainly before the ninth century CE. They are: 1) Hekhalot Zutartey ("The Lesser Palaces"), which details an ascent of Rabbi Akiva; 2) Hekhalot Rabbati ("The Greater Palaces"), which details an ascent of Rabbi Ishmael; 3) Ma'aseh Merkabah ("Account of the Chariot"), a collection of hymns recited by the "descenders" and heard during their ascent; and 4) Sepher Hekhalot ("Book of Palaces," also known as 3 Enoch), which recounts an ascent and divine transformation of the biblical figure Enoch into the archangel Metatron, as related by Rabbi Ishmael.
A fifth work provides a detailed description of the Creator as seen by the "descenders" at the climax of their ascent. This work, preserved in various forms, is called Shi'ur Qomah ("Measurement of the Body"), and is rooted in a mystical exegesis of the Song of Songs, a book reputedly venerated by Rabbi Akiva. The literal message of the work was repulsive to those who maintained God's incorporeality; Maimonides (d. 1204) wrote that the book should be erased and all mention of its existence deleted.
While throughout the era of merkabah mysticism the problem of creation was not of paramount importance, the treatise Sefer Yetzirah ("Book of Creation") represents an attempt at cosmogony from within a merkabah milieu. This text was probably composed during the seventh century CE, and evidence influence of Neoplatonism, Pythagoreanism, and Stoicism. It features a linguistic theory of creation in which God creates the universe by combining the 22 letters of the Hebrew alphabet, along with emanations represented by the ten numerals, or sefirot.
Hekhalot (“Palaces/Temples”) or Merkava The first distinctly mystical movement in Jewish history, Ma’asei Merkavah, appeared in the late Greco-Roman period.
It is a form of pre-Kabbalah Jewish mysticism, which both teaches of the possibility of making a sublime journey to God and of the ability of man to draw down divine powers to earth. Merkava/Hekhalot mysticism began after the end of the Second Temple period following the destruction of the Second Temple in 70 B.C.E., when the physical cult ceased to function. The idea of making a journey to the heavenly "hekhal" seems to be a kind of spiritualization of the pilgrimages to the earthly "hekhal" that were now no longer possible.
Much about the MM remains a mystery, but it seems to be an esoteric movement that grew out of the priestly mysticism already evident in the Dead Sea Scrolls and some apocalyptic writings. Hekhalot writings are the literary artifacts of the Maasei Merkavah. The main interests of all Hekhalot writings are accounts of mystical ascents into heaven, divine visions, and the summoning and control of angels, usually for the purpose of gaining insight into Torah. The loci classicus for these practices is the biblical accounts of the Chariot vision of Ezekiel (Chap. 1) and the Temple vision of Isaiah (Chap. 6). It is from these, and from the many extra-canonical apocalyptic writings of heavenly visitations, that Hekhalot literature emerges. Still, it is distinctive from both Qumran literature and Apocalyptic writings for several reasons, chief among them being that Hekhalot literature is not at all interested in eschatology, largely ignores the unique status of the priesthood, has little interest in fallen angels or demonology, and it "democratizes" the possibility of divine ascent. It may represent a "rabbinization" of these earlier priestly ideologies.
The title, “Hekhalot” (palaces), derives from the divine abodes seen by the practitioner following a long period of ritual purification, self-mortification, and ecstatic prayer and meditation. In their visions, these mystics would enter into the celestial realms and journey through the seven stages of mystical ascent: the Seven Heavens and seven throne rooms. Such a journey is fraught with great danger, and the adept must not only have made elaborate purification preparation, but must also know the proper incantations, seals and angelic names needed to get past the fierce angelic guards, as well as know how to navigate the various forces at work inside and outside the palaces.
The literature sometimes includes fantastic and baffling descriptions of the precincts of heaven and its awesome denizens. The highly literal and overly-explicit images of heavenly objects and their numbers (…four thousands of thousand of fiery chariots and ten thousand fiery torches amidst them…) common to this literature may be intended, reductio ad absurdum, to convey the truly ineffable nature of the ecstatic experience. At times, heavenly interlocutors will reveal divine secrets. In some texts, the mystic’s interest extends to the heavenly music and liturgy, usually connected with the angelic adorations mentioned in Isa. 6:3. The mantra-like repetitive nature of the liturgies recorded in many of these compositions seems meant to encourage further ascent. The ultimate goal of the ascent varies from text to text. In some cases, it seems to be a visionary glimpse of God, to "Behold the King in His Beauty." Others hint at "enthronement," that the adept be accepted among the angelic retinue of God and be given an honored (god-like?) seat. One text actually envisions the successful pilgrim getting to sit in God's "lap." Scholars such as Peter Schafer and Elliot Wolfson see an erotic theology implied in this kind of image, though it must be said sexual motifs, while present in highly attenuated forms, are few and far between if one surveys the full scope of the literature. Literary works related to the Hekhalot tradition that have survived in whole or in part include Hekhalot Rabbati (or Pirkei Hekhalot), Hekhalot Zutarti, 3rd Enoch (also known as Hebrew Enoch), and Ma’aseh Merkavah. In addition there are many smaller and fragmentary manuscripts that seem to belong to this genre, but their exact relationship to Ma’asei Merkavah mysticism and to each other is often not clear.
 Heikhalot Literature and "Four Entered Pardes"
Idel, Scholem, Dan, and others have raised the natural question concerning the relationship between the "chambers" portion of the Heikhalot literature and the Bavli's treatment of "The Work of the Chariot" in the presentation and analysis of such in the Gemara to tractate Khaggigah of the Mishna. This portion of the Babylonian Talmud, which includes the famous "four entered pardes" material, runs from 12b-iv (wherein the Gemara's treatment of the "Work of Creation" flows into and becomes its treatment of "The Work of the Chariot") to and into 16a-i. [All references are to the Art Scroll pagination.]
By making use of the Rabinically paradigmatic figures of Rabbi Aqiba and Rabbi Ishmael in their writings, the generators of the Heikhalot literature, quite arguably, seem to be attempting to show some sort of connection between their writings and the Chariot/Throne study and practice of the Rabbinic Movement in the decades immediately following upon the destruction of the Temple. However, in both the Palestinian Talmud and the Babylonian Talmud the major players in this Chariot/Throne endeavor are, clearly, Rabbi Aqiba and Elisha ben Abuyah who is referred to as "Akher." Neither Talmud presents Rabbi Ihsmael as a player in Merkabah study and practice.
In the long study on these matters contained in " 'The Written' as the Vocation of Conceiving Jewishly" [McGinley, J W; 2006] the hypothesis is offered and defended that "Rabbi Ishmael ben Elisha" (more often, simply "Rabbi Ishmael") is in fact a Rabbinically sanctioned cognomen for Elisha ben Abuyah who, as is well known, apostasized from the Rabbinic Movement. The argument is that through this indirection Rabbinic offialdom was able to integrate into the Gemaric give and take of argumentation and analysis the huge body of halakhic and hermeneutical teachings of this great Torah scholar without, however, honoring his equally significant apostasy. To be sure, in the accounting of this figure's mystical study and practice the pejorative (in context) "Akher" is used instead of "Rabbi Ishmael." This is because Elisha ben Abuyah's teachings under the heading of "The Work of the Chariot" came to be considered heretical in contrast to his halakhic and hermeneutical teachings which were generally admired -- and whose wieghty influence, in any case, could not be ignored. All of this indicates that the generators of the Heikhalot literature were indeed savvy in choosing "Rabbi Ishmael" as paradigmatic in their own writings as a means of relating their own endeavors to the mystical study and practices of the tannaim in the early decades following upon the destruction of the Temple.
Both Aqiba and the "Ishmaelic Akher" traded upon the "two-thrones"/"two-powers"-in-Heaven motif in their respective Merkabah-oriented undertakings. Aquiba's version is memorialized in the Bavli Gemara to tractate Khaggigah at 14a-ii wherein Aquiba puts forth the pairing of Hashem and "David" in a messianic version of that mystical motif. Immediately after this Aqibian "solution" to the puzzle of thronesS referred to in Song of Songs and the two thrones spoken of in Daniel, Chapter Seven, the text presents Aqiba as being pressured -- and then acquiescing to -- a domesticated version of this twoness theme for the single Jewish God which would be acceptable to Rabbinic officialdom. The text offers Justice [din] and Charity [tsadaqqa] as the middot of God which are enthroned in Heaven. [Again, 14a-ii] Akher's non-Messianic and Metatron-oriented version of this "two-thrones"/"two-powers"-in-Heaven motif is discussed at length in the entry "Paradigmatia" of the above-mentioned study. The generic point in all of this is that by the time of the final editing of the Mishna this whole motif (along with other dimesions of Merkabah-oriented study and practice) came to be severely discouraged by Rabbinic officialdom. Those who still pursued these kinds of things were marginalized by the Rabbinic Movement over the next several centuries becoming, in effect, a separate grouping responsible for the Heikhalot literature.
In the "four-entered-pardes" section of this portion of the Bavli Gemara on tractate Khaggigah, it is the figure of Aqiba who seems to be lionized. For of the four he is the only one presented who ascended and descended "whole." The other three were broken, one way or another: Ben Azzai dies soon after; Ben Zoma is presented as going insane; and worst of all, "Akher" apostasizes. This putative lionization of Rabbi Aqiba occurs at 15b-vi-16a-i of our Gemara section. However, in the author's other publication of 2006 [pages 366-369] something remarkable is revealed about the "prooftexting" offered in support of this putative lionization of Rabbi Aqiba. For a careful analysis of both the prooftexts offered and in whose name they are offered shows that these most curious "prooftexts" are in fact subtle satires of the self-aggrandizing feature of Aqiba's character make-up.
In Christianity, the man, lion, ox, and eagle are used as symbols for the four evangelists (or gospel-writers), and appear frequently in church decorations (and also in the The World Tarot card). These Creatures are called Zoë, and are constantly surrounding the throne of God in Heaven, along with the twenty-four angelic rulers, the Seraphim, the Cherubim, the seven Archangels, the Ophanim, and countless angels, gods, spirits, and saints, singing praises to the Trinity, and begging Christ to have mercy on humankind.
 New age
In modern esoteric teachings, it is taught that the MerKaBa is an interdimensional vehicle consisting of two equally sized, interlocked tetrahedra of light with a common center, where one tetrahedron points up and the other down. This point symmetric form is called a stella octangula or stellated octahedron which can also be obtained by extending the faces of a regular octahedron until they intersect again.
In his books, researcher and physicist Drunvalo Melchizedek describes this figure as a "Star Tetrahedron", since it can be viewed as a three dimensional Star of David. By imagining two superimposed "Star Tetrahedrons" as counterrotating , along with specific "prana" breathing techniques, certain eye movements and mudras, it is taught that one can activate a non-visible 'saucer' shaped energy field around the human body that is anchored at the base of the spine. Depending on the height of the person doing the exercise, this field is about 55 feet across. Once activated, this 'saucer' shaped field is capable of carrying ones consciousness directly to higher dimensions.
- A song on art-rock band Tool's box set Salival is called Merkaba. Also, ZAUM, had a song called this, although they were two different songs, they were nearly about the same thing (Toolshed. Down.Net FAQ). Coincidentally, Danny Carey played for ZAUM as well as Tool. The spoken samples at the beginning are from Zaum's song "Psychedelic Experience."
- Merkabah appears as a dungeon in the Squaresoft game Xenogears.
- Merkava is the designation for a modern Israeli designed and manufactured main battle tank.
- Ezekiel's Merkabah purported to be a description of an alien UFO in the book Chariots of the Gods by Erich von Däniken.
 See also
- Third eye
- Pineal gland
- Flower of Life
- Sacred geometry
- Seder hishtalshelusde:Merkaba