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In Exodus 35-40, we witness the fashioning of the Tabernacle, exquisite in its lapidary beauty and dazzling colors of violet, purple and scarlet; gold, silver and bronze. The parallel structure of command in chapters 25-31 and implementation in chapters 35-40 is heightened by the use of mirroring language.
In Exodus 35-40, we witness the fashioning of the Tabernacle, exquisite in its lapidary beauty and dazzling colors of violet, purple and scarlet; gold, silver and bronze. The parallel structure of command in chapters 25-31 and implementation in chapters 35-40 is heightened by the use of mirroring language.
In Exodus 35-40, we witness the fashioning of the Tabernacle, exquisite in its lapidary beauty and dazzling colors of violet, purple and scarlet; gold, silver and bronze. The parallel structure of command in chapters 25-31 and implementation in chapters 35-40 is heightened by the use of mirroring language.
(Exodus 35: 1 40: 38) In Exodus 25-31 Moses received the blueprints for constructing the Tabernacle, the place on earth where God will dwell among his covenant people. As Hebrews 8 points out, this earthly Tabernacle is a copy and shadow of the genuine Tabernacle, which is in heaven; hence, Moses was warned to make everything according to the pattern shown *him+ on the mountain (Hebrews 8: 5).
With the episode of the golden calf rebellion and Moses smashing the tablets of the Ten Commandments, the Israelites traumatically violated this divinely mandated sacred space.
After Moses dealt with the rebellion he went back up Mt. Sinai and spent an additional 40 days/40 nights in intimate communion with God, descending the mountain visibly luminous from basking in Gods divine presence.
With the building of the Tabernacle in chapters 35-40, divine order is restored. In Lesson #17, we witness the fashioning of the Tabernacle, exquisite in its lapidary beauty and dazzling colors of violet, purple and scarlet; gold, silver and bronze, relishing every resplendent detail.
The parallel structure of command in chapters 25-31 and implementation in chapters 35-40 is heightened by the use of mirroring language between the two sections (often word for word, phrase for phrase). Such repetition may seem redundant to modern readers, but it is common practice in ancient Near Eastern literature, a practice that highlights the completion and fulfillment of a divinely ordered task.
When Moses completes the work of building the Tabernacle, the pillar of cloud and fire settles down upon it, filling the Tabernacle with the Glory of God.
In sharp contrast to the golden calf rebellion, characterized by division and discord, work on building the Tabernacle begins by Moses assembling the whole Israelite community (35: 1) and charging them with working together as one people to accomplish a great taskconstructing a sacred space where God will dwell among them.
Prelude
On six days work may be done, but the seventh day shall be holy to you as the sabbath of complete rest to the Lord. Anyone who does work on that day shall be put to death (35: 2).
Even faced with such a daunting task as building the Tabernaclea sacred space for Godthe Sabbath must be observed rigorously.
You shall not even light a fire in any of your dwellings on the sabbath day (35: 3).
Since metalwork, which requires fire, is a primary task in building the Tabernacle, the prohibition on making fire is emphasized.
In a more universal sense, the ability to make and use fire is a foundational technology of any civilization, an ability in Greek mythology that was reserved for the gods. As Hesiod recounts in his Theogony, Prometheus steals fire from Zeus and is punished by being chained to a rock, where an eagle eats his liver, which is regenerated daily due to his immortality.
Nicolas-Sbastien Adam. Prometheus Bound (marble), 1762. Louvre Museum, Paris. Moses said to the whole Israelite community, This is what the Lord has commanded: Receive from among you contributions for the Lord. Everyone, as his heart prompts him, shall bring . . . (35: 4-5).
. There you go, Moses! Offerings shall be voluntary. Let every artisan among you come and make all that the Lord has commanded . . . (35: 10).
. Artisans shall volunteer. The Lord has singled out Bezalel, son of Uri, son of Hur, of the tribe of Judah, and has filled him with a divine spirit of skill and understanding and knowledge in every craft . . .. He has also given both him and Oholiab, son of Ahisamach, of the tribe of Dan, the ability to teach others. (35: 30, 34).
. Bezalel and Oholiab shall lead. As God has Bezalel and Oholiab as divinely appointed craftsmen, so do other cultures and mythologies have theirs:
. Divine Craftsmen Guillaume Coustou the Younger. Hephaestus at the Forge (marble), 1742. Louvre Museum, Paris. All the artisans who were doing the work for the sanctuary came from the work each was doing, and told Moses, The people are bringing much more than is needed to carry out the work which the Lord has commanded us to do. Moses, therefore, ordered a proclamation to be make throughout the camp: Let neither man nor woman make any more contributions for the sanctuary. (36: 4-6).
. The first time ever a pastor asked people to STOP giving to the building fund! The Tent Cloth
. 5 Sheets 100 golden loops and clasps, with violet yarn 5 Sheets The Tent Cloth, 4 layers
. Goat hair Ram skins dyed red Tahash skins (dolphin?) The Frames
. 20 acacia wood frames, plated with gold 40 silver sockets 5 acacia wood bars, plated with gold The Veils
. 4 acacia wood columns, plated with gold 4 silver sockets 5 acacia wood columns, plated with gold 5 bronze sockets The Ark of the Covenant
. Acacia wood poles, plated with gold Gold rings Acacia wood box plated with gold Gold molding Lid of solid gold with two cherubim, made of one piece with the lid. The Table of Showbread
. Acacia wood poles, plated with gold Gold rings Gold molding Acacia wood table, plated with gold Golden vessels The Menorah
. Solid gold menorah, made of one piece 3 cups shaped like almond blossoms on each branch 4 cups shaped like almond blossoms on center branch Cups for holding oil The Altar of Incense
. Acacia wood box plated with gold Gold rings Acacia wood poles, plated with gold Gold molding Horns Plated with gold The Bronze Altar
. Acacia wood hollow box, plated with bronze Horns, plated with bronze Acacia wood poles, plated with bronze Bronze grate The Basin
. Bronze basin and stand The Courtyard
. Fine-twinned linen curtain Bronze socket Acacia wood post Silver-plated cap Bronze tent pegs The Courtyard, Gate
. Four bronze posts, with bronze sockets and silver caps Fine-twinned linen curtain, with violet, purple and scarlet yarn
Amount of Metal Used Gold 29 talents, 730 shekels = 36,990 oz. $49,529,610
Silver 100 talents, 1,775 shekels = 125,325 oz. $2,686,968
Bronze 70 talents, 2,400 shekels = 91,200 oz. $16,416
1. Why is nearly half of Exodus devoted to the Tabernacle? 2. Why does the golden calf rebellion interrupt the Tabernacle narrative? What is its purpose in the story? 3. After the golden calf rebellion the Israelites seem delighted to get to work on the Tabernacle. How do you explain their transition from rebellion to full cooperation? 4. God dwelt with Adam and Eve in the Garden of Eden quite comfortably, but after sin enters the world in Genesis 3 God distances himself from humanity. In Exodus he carefully moves closer, finally manifesting his Glory in the Tabernacle in Exodus 40. How do you explain Gods cautious behavior in his relationship with humanity? 5. At the end of Exodus, how much time has passed since the Israelites have left Egypt?
Copyright 2014 by William C. Creasy All rights reserved. No part of this courseaudio, video, photography, maps, timelines or other mediamay be reproduced or transmitted in any form by any means, electronic or mechanical, including photocopying, recording or by any information storage or retrieval devices without permission in writing or a licensing agreement from the copyright holder.
[All Tabernacle illustrations in these lectures are taken from: Paul F. Kiene. The Tabernacle of God in the Wilderness of Sinai, trans. by John S, Crandall. Grand Rapids, Michigan: Zondervan Publishing House, 1977. Used by permission.]