Depicting Esther Artistically: The Defining Moment
Miranda Flamholz
Throughout history, there have been different depictions of Queen Esther in
art because of the multiple interpretations, both Jewish and non-Jewish, of her role in
the biblical story. An analysis of the artistic elements of the works sheds light on the
artist’s view of Esther’s character, and on the story of Esther as a whole. In
particular, artistic portrayals of the scene in which Esther risks her life and approaches
the King in order to save the Jewish people illustrates Esther’s character and the
essence of her story.
Esther 5:1-2 is a climactic point in the biblical narrative in which Esther is
paradigmatically portrayed as the strong protagonist when she approaches the King
without being summoned. This is one of her feats of heroism and shows her strength
and courage. After fasting for three days, and praying to God for success in her
mission, she comes before the King in his palace with the ultimate beseech: to save
her people and expose the guilt of the King’s closest advisor. There are many ways to
depict this critical moment, as there are many interpretations, both Jewish and nonJewish, that comment on the scene. I chose to depict it in a way that incorporates
various influences.
There is much discussion among commentators on the book of Esther, Chapter
5 verses 1-2, regarding Esther’s physical appearance and her location, described in the
verse as “Esther put on her royal apparel.” Interpreters offer additional views on the
manner in which she approached the King, as it says “and [she] stood in the inner
court of the king's house, over against the king's house; and the king sat upon his royal
throne in the royal house, over against the entrance of the house.” Various opinions
also emerge regarding the King’s reaction to her request. As it says, “when the king
saw Esther the queen standing in the court, she obtained favor in his sight; and the
king held out to Esther the golden scepter that was in his hand. So Esther drew near,
and touched the top of the scepter.” These three aspects of the encounter must be
analyzed in order to get a full sense of the scene and its significance.
M’nos Halevi notes that Esther dressed in “royalty” because Mordecai had
stressed the importance of the mission to save the Jews and she wanted to make a
good impression even though she had previously refrained from wearing such
garments as Queen.1 iThe Midrash Rabbah further explains the nature of these royal
garments and says that Esther was dressed in adi teferes, which either refers to a
glorious headdress or a cloak, with a golden hemmed long train attached. She had two
maidservants with her and she placed her right hand on one for support, as was the
royal custom. The second carried her train. She appeared happy in an attempt to hide
the anxiety in her heart.2
Other commentaries interpret the “royalty” to have a metaphorical rather than
a literal meaning. Malbim interprets the statement that Esther was “robed in majesty”
to mean that she had an aura of majesty such that all who saw her recognized that she
was ideally suited to be queen.3 There also could have been a spiritual connotation to
this phrase. Some of our Sages explain that the verse was not referring to Esther’s
1
Referenced in Zlotowitz, Rabbi Meir. The Book of Esther/A New Translation With a Commentary
Anthologized from Talmudic, Midrashic, and Rabbinic Sources. New York: Mesorah Publications Ltd.,
1976. 83
2
Feldheim Publishers, The Midrash Rabbah/Complete Vowelized Midrash Text. Jerusalem: Machon
HaMidrah HaMevo'ar, 2002. 9:1
3
Translated and Annotated by Jonothan Taub. The Malbim Esther. Southfield: Targum Press, 1998.
102-103
royal clothing but rather that she had ruach hakodesh, or divine spirit, that
accompanied her.4 Similarly, Rabbi David Feinstein notes that it was the first night of
Passover, the “Night of protections,” and therefore, she had extra divine spirit with
her, which is what gave her the courage to confront the King.5
When Esther entered the palace the word vataamod, literally meaning “and
she stood,” is interpreted by the M'nos Halevi to mean that she was praying.6 The
Midrash elaborates that when Esther entered the King’s chamber of idols she lost the
divine spirit, so she prayed and said, “My God, my God, why hast Thou forsaken
me?”7 In the midrashic expansion, Esther encountered obstacles on her way to the
King and she had to pass through seven departments in the palace. The courtiers
hoped that she would be executed like Vashti and that they would be able to apportion
her clothing and jewelry among themselves; those close to Ahasuerus encircled her
and harassed her on her way to the King, while Haman’s sons awaited her downfall.
After she came to the fourth department, Ahasuerus’ ire was aroused and he
remembered Vashti, who did not come to him despite his repeated requests, while
Esther came to him without permission. Esther stood in the middle of the fourth
department; the guards of the first department could no longer touch her, while those
of the last department could not yet approach her. Ahasuerus’ close advisors
attempted sorcery, so that her hands and feet would look like leather hides, but a
miracle was performed for her and her feet began to shine like sapphires.8
In Talmud Megilla, the Rabbis interpret that Esther was so worn out and tired
after her three day fast that she was in no position to get to the King’s palace, let alone
4
Weinbach, Mendel. 127 insights into Megillas Esther. Southfield: Targum Press, 1990. 117
5
Walfish, 34-35
6
Zlotowitz, 83
7
Also found in Psalms 22:2
8
Midrash Tehilim, on Psalms. 22:7, 24–26
make a request of him. Therefore, God sent her with three angels to help her. One
raised her head erect and one endowed her with miraculous charm. When the golden
scepter was extended toward Esther, she would have to touch it in order to accept the
King’s offering and make her request, but she was too far away to do so. Therefore,
the third angel was sent to extend the scepter so that it touched Esther’s fingertips.9
Other commentaries focus on the King’s reaction to Esther’s intrusion and
what ensues thereafter. The Malbim interprets Ahasuerus’ gesture as a sign that the
King loved Esther so much that it never occurred to him that the decree that
prohibited people from entering his inner court without permission applied to her.10
Therefore, when he saw her standing humbly in the court waiting for permission, she
found favor in his eyes and he extended his golden scepter. However, Midrash
Rabbah explains that when Ahasuerus saw Esther standing before him, his wrath
burned inside of him because she violated the law. When Esther saw him his eyes
were burning like fire, and she became very frightened and her spirit became faint.
She was so weak that she put her head on her maidservant’s shoulder. God saw this
and took pity on the Jews and granted Esther favor in the eyes of the King. Then, not
only did the King extend the scepter, but ran to her side. He hugged and kissed her
and said “Queen Esther! Why be afraid of me? That law we enacted does not apply to
you…”11 The Midrash in Panim Aherim follows the theme of angels and the inclusion
of the godly presence and suggests that when Esther entered the palace, Ahasuerus
first tried to turn his face so that he would not look upon her, but the ministering
9
Weinbach, 117
10
Taub, 103-104
11
Midrash Rabbah, 9:1
angels forcibly turned his head, until he cried out. He was blinded, but when he
looked in her direction his vision was restored and he extended his scepter.12
In my own artistic portrayal of Esther, I took into account many other
paintings that depicted this scene. Looking at various paintings from different time
periods, I noticed some qualities about the scene that these paintings shared. Many
paintings, including Poussin’s ‘Esther Before Ahasuerus’, depict Esther fainting and
leaning on the arm of her maidservant.13 This idea likely came from the Apocryphal
additions to the original scriptures based on the Septuagint.14 However, it is also
present in one of the Jewish interpretations in Midrash Rabbah. Such a portrayal of
Esther is likely used to express the nerves in Esther’s heart, and her uneasiness
approaching the King without being called, as well as the fact that she had been
fasting for the last three days before entering the palace. The Jewish interpretation,
however, usually depicts Esther as a strong, powerful woman.
12
Midrash Panim Aherim, version B, para. 5
13
Nicolas Poussin. Esther Before Ahasuerus. 1655. Hermitage, St. Petersburg.
14
Can be seen in the Revised Standard Version Catholic Edition of the Bible, addition 15
'Esther Before Ahasuerus' by Pompeo Batoni,15 as well as other paintings,
depict lions surrounding the King’s throne or adorning his palace, some of which are
winged creatures. There is a biblical source for such creatures described in the book
of Daniel, as one of the four kings that will “arise out of the earth” and rule over the
Jewish people.16 The lion creature is known to be the Babylonian Empire while the
next creature, a bear with ribs in its mouth, is said to represent Persia.17 Similar
creatures are also included in Persian mythology and have come to symbolize the king
of all creatures. Sculptures of similar creatures have been found in the remains of
Persian Palaces, mainly of Darius I.
Many of the paintings depict maidservants accompanying Esther. This was the
custom in many ancient kingdoms, and therefore is manifested in the artwork
portraying that time. The common etiquette was for the queen to have maidservants
accompanying her at all times. We are introduced to these maidservants earlier in the
15
Pompeo Batoni, Esther Before Ahasuerus. 1738-40. Philadelphia Museum of Art, Philadelphia
16
Daniel Chapter 7
17
Rashi Daniel 7:5
story.18 The Midrash picks up on this custom and includes the maidservants in the
story of Esther approaching the King as well.19
In light of such influences, in my own vision of this tale, I depicted Esther
standing before the king, tired and worn out from fasting, yet dressed in her beautiful
clothing with a long train lined with gold. This can be seen through the interpretations
and sources cited above. As part of her elaborate adornments, Esther’s crown is lined
with Hebrew letters, spelling out parts of the phrase “‫“ “ ’’אלי אלי למה עזבתני‬My God,
my God, why hast Thou forsaken me?” which is said to be the phrase that she was
saying as she prayed. This shows that she is constantly focused on the words of God,
and his protection, even in times when she fears that she has lost the divine spirit.
Esther is standing on the fourth out of seven steps to the throne, corresponding to the
Midrash Tehillim which explains that Esther was in the fourth out of seven chambers
of the palace when she approached Ahasuerus’ throne. This also represents the idea
noted in the Zohar that as Esther was walking through the palace she was ascending in
the “sfirot” of prayer.20 Additionally, I depicted three women helping her. These
women represent the maidservants that accompanied her and assisted her, as they can
be seen guiding her and holding her train, as was the custom in Persian culture.21
However, they also represent the three angels that God sent with her to bestow her
with charm, and extend the King's scepter to touch her hand.22
18
Esther 2:9
19
Midrash Rabbah, 9:1
20
Walfish, Barry Dov. Esther in Medieval Garb/Jewish Interpretation of the Book of Esther in the
Middle Ages. Albany: State University of New York Press, 1993. 36-37
21
Midrash Rabbah, 9:1
22
Weinbach, 117
After researching numerous interpretations of the scene of Esther approaching
King Ahasuerus, as well as the ways in which several artists depicted this dramatic
point in the narrative, I gained many insights into Esther's character the Megilla in its
entirety. I used biblical and Midrashic commentaries and diverse artists' unique
interpretative styles as inspiration for my own artwork. My depiction represents the
way I have come to view Esther’s role in this climactic scene and illustrates aspects
that are not explicit in the text, yet contribute to a richer understanding of the story.