Exodus 25:9

25:9 According to all that I am showing you ¹  – the pattern of the tabernacle ²  and the pattern of all its furnishings – you ³  must make it exactly so. ⁴ 

Exodus 25:40

25:40 Now be sure to make ⁵  them according to the pattern you were shown ⁶  on the mountain. ⁷ 

Exodus 26:30-37

26:30 You are to set up the tabernacle according to the plan ⁸  that you were shown on the mountain.

26:31 “You are to make a special curtain ⁹  of blue, purple, and scarlet yarn and fine twisted linen; it is to be made ¹⁰  with cherubim, the work of an artistic designer. 26:32 You are to hang it ¹¹  with gold hooks ¹²  on four posts of acacia wood overlaid with gold, set in ¹³  four silver bases. 26:33 You are to hang this curtain under the clasps and bring the ark of the testimony in there behind the curtain. ¹⁴  The curtain will make a division for you between the Holy Place and the Most Holy Place. ¹⁵  26:34 You are to put the atonement lid on the ark of the testimony in the Most Holy Place. 26:35 You are to put the table outside the curtain and the lampstand on the south side of the tabernacle, opposite the table, and you are to place the table on the north side.

26:36 “You are to make a hanging ¹⁶  for the entrance of the tent of blue, purple, and scarlet yarn and fine twined linen, the work of an embroiderer. ¹⁷  26:37 You are to make for the hanging five posts of acacia wood and overlay them with gold, and their hooks will be ¹⁸  gold, and you are to cast five bronze bases for them. ¹⁹ 

Exodus 26:1

The Tabernacle

26:1 ²⁰ “The tabernacle itself ²¹  you are to make with ²²  ten curtains of fine twisted linen and blue and purple and scarlet; ²³  you are to make them with ²⁴  cherubim that are the work of an artistic designer.

Exodus 28:11

28:11 You are to engrave the two stones with the names of the sons of Israel with the work of an engraver in stone, like the engravings of a seal; ²⁵  you are to have them set ²⁶  in gold filigree ²⁷  settings.

Exodus 28:19

28:19 and the third row, a jacinth, an agate, and an amethyst;

Matthew 15:9

15:9 and they worship me in vain,

teaching as doctrines the commandments of men.’” ²⁸ 

Colossians 2:20-23

2:20 If you have died with Christ to the elemental spirits ²⁹  of the world, why do you submit to them as though you lived in the world? 2:21 “Do not handle! Do not taste! Do not touch!” 2:22 These are all destined to perish with use, founded as they are ³⁰  on human commands and teachings. ³¹  2:23 Even though they have the appearance of wisdom ³²  with their self-imposed worship and false humility ³³  achieved by an ³⁴  unsparing treatment of the body – a wisdom with no true value – they in reality result in fleshly indulgence. ³⁵ 

Hebrews 8:5

8:5 The place where they serve is ³⁶  a sketch ³⁷  and shadow of the heavenly sanctuary, just as Moses was warned by God as he was about to complete the tabernacle. For he says, “See that you make everything according to the design ³⁸  shown to you on the mountain.” ³⁹ 

[25:9]  ¹ tn The pronoun is singular.

[25:9]  ² sn The expression “the pattern of the tabernacle” (תַּבְנִית הַמִּשְׁכָּן, tavnit hammiskan) has been the source of much inquiry. The word rendered “pattern” is related to the verb “to build”; it suggests a model. S. R. Driver notes that in ancient literature there is the account of Gudea receiving in a dream a complete model of a temple he was to erect (Exodus, 267). In this passage Moses is being shown something on the mountain that should be the pattern of the earthly sanctuary. The most plausible explanation of what he was shown comes from a correlation with comments in the Letter to the Hebrews and the book of Revelation, which describe the heavenly sanctuary as the true sanctuary, and the earthly as the copy or shadow. One could say that Moses was allowed to see what John saw on the island of Patmos, a vision of the heavenly sanctuary. That still might not explain what it was, but it would mean he saw a revelation of the true tent, and that would imply that he learned of the spiritual and eternal significance of all of it. The fact that Israel’s sanctuary resembled those of other cultures does not nullify this act of revelation; rather, it raises the question of where the other nations got their ideas if it was not made known early in human history. One can conclude that in the beginning there was much more revealed to the parents in the garden than Scripture tells about (Cain and Abel did know how to make sacrifices before Leviticus legislated it). Likewise, one cannot but guess at the influence of the fallen Satan and his angels in the world of pagan religion. Whatever the source, at Sinai God shows the true, and instructs that it all be done without the pagan corruptions and additions. U. Cassuto notes that the existence of these ancient parallels shows that the section on the tabernacle need not be dated in the second temple period, but fits the earlier period well (Exodus, 324).

[25:9]  ³ tn The pronoun is plural.

[25:9]  ⁴ sn Among the many helpful studies on the tabernacle, include S. M. Fish, “And They Shall Build Me a Sanctuary,” Gratz College of Jewish Studies 2 (1973): 43-59; I. Hart, “Preaching on the Account of the Tabernacle,” EvQ 54 (1982): 111-16; D. Skinner, “Some Major Themes of Exodus,” Mid-America Theological Journal 1 (1977): 31-42; S. McEvenue, “The Style of Building Instructions,” Sem 4 (1974): 1-9; M. Ben-Uri, “The Mosaic Building Code,” Creation Research Society Quarterly 19 (1982): 36-39.

[25:40]  ⁵ tn The text uses two imperatives: “see and make.” This can be interpreted as a verbal hendiadys, calling for Moses and Israel to see to it that they make these things correctly.

[25:40]  ⁶ tn The participle is passive, “caused to see,” or, “shown.”

[25:40]  ⁷ sn The message of this section surely concerns access to God. To expound this correctly, though, since it is an instruction section for building the lampstand, the message would be: God requires that his people ensure that light will guide the way of access to God. The breakdown for exposition could be the instructions for preparation for light (one lamp, several branches), then instructions for the purpose and maintenance of the lamps, and then the last verse telling the divine source for the instructions. Naturally, the metaphorical value of light will come up in the study, especially from the NT. So in the NT there is the warning that if churches are unfaithful God will remove their lampstand, their ministry (Rev 2-3).

[26:30]  ⁸ tn The noun is מִשְׁפָּט (mishpat), often translated “judgment” or “decision” in other contexts. In those settings it may reflect its basic idea of custom, which here would be reflected with a rendering of “prescribed norm” or “plan.”

[26:31]  ⁹ tn Although translated “curtain” (traditionally “veil,” so ASV, NAB, NASB) this is a different word from the one used earlier of the tent curtains, so “special curtain” is used. The word פָרֹכֶת (farokhet) seems to be connected with a verb that means “to shut off” and was used with a shrine. This curtain would form a barrier in the approach to God (see S. R. Driver, Exodus, 289).

[26:31]  ¹⁰ tn The verb is the third masculine singular form, but no subject is expressed. It could be translated “one will make” or as a passive. The verb means “to make,” but probably has the sense of embroidering both here and in v. 1.

[26:32]  ¹¹ tn Heb “put it.”

[26:32]  ¹² tn This clause simply says “and their hooks gold,” but is taken as a circumstantial clause telling how the veil will be hung.

[26:32]  ¹³ tn Heb “on four silver bases.”

[26:33]  ¹⁴ tn The traditional expression is “within the veil,” literally “into the house (or area) of the (special) curtain.”

[26:33]  ¹⁵ tn Or “the Holy of Holies.”

[26:36]  ¹⁶ sn This was another curtain, serving as a screen in the entrance way. Since it was far away from the special curtain screening the Most Holy Place, it was less elaborate. It was not the work of the master designer, but of the “embroiderer,” and it did not have the cherubim on it.

[26:36]  ¹⁷ tn The word רֹקֵם (roqem) refers to someone who made cloth with colors. It is not certain, however, whether the colors were woven into the fabric on the loom or applied with a needle; so “embroiderer” should be understood as an approximation (cf. HALOT 1290-91 s.v. רקם).

[26:37]  ¹⁸ tn “will be” has been supplied.

[26:37]  ¹⁹ sn In all the details of this chapter the expositor should pay attention to the overall message rather than engage in speculation concerning the symbolism of the details. It is, after all, the divine instruction for the preparation of the dwelling place for Yahweh. The point could be said this way: The dwelling place of Yahweh must be prepared in accordance with, and by the power of, his divine word. If God was to fellowship with his people, then the center of worship had to be made to his specifications, which were in harmony with his nature. Everything was functional for the approach to God through the ritual by divine provisions. But everything also reflected the nature of God, the symmetry, the order, the pure wood, the gold overlay, or (closer to God) the solid gold. And the symbolism of the light, the table, the veil, the cherubim – all of it was revelatory. All of it reflected the reality in heaven. Churches today do not retain the pattern and furnishings of the old tabernacle. However, they would do well to learn what God was requiring of Israel, so that their structures are planned in accordance with the theology of worship and the theology of access to God. Function is a big part, but symbolism and revelation instruct the planning of everything to be used. Christians live in the light of the fulfillment of Christ, and so they know the realities that the old foreshadowed. While a building is not necessary for worship (just as Israel worshiped in places other than the sanctuary), it is practical, and if there is going to be one, then the most should be made of it in the teaching and worshiping of the assembly. This chapter, then, provides an inspiration for believers on preparing a functional, symbolical, ordered place of worship that is in harmony with the word of God. And there is much to be said for making it as beautiful and uplifting as is possible – as a gift of freewill offering to God. Of course, the most important part of preparing a place of worship is the preparing of the heart. Worship, to be acceptable to God, must be in Christ. He said that when the temple was destroyed he would raise it up in three days. While he referred to his own body, he also alluded to the temple by the figure. When they put Jesus to death, they were destroying the temple; at his resurrection he would indeed begin a new form of worship. He is the tent, the curtain, the atonement, that the sanctuary foreshadowed. And then, believers also (when they receive Christ) become the temple of the Lord. So the NT will take the imagery and teaching of this chapter in a number of useful ways that call for more study. This does not, however, involve allegorization of the individual tabernacle parts.

[26:1]  ²⁰ sn This chapter is given over to the details of the structure itself, the curtains, coverings, boards and walls and veil. The passage can be studied on one level for its function both practically and symbolically for Israel’s worship. On another level it can be studied for its typology, for the tabernacle and many of its parts speak of Christ. For this one should see the commentaries.

[26:1]  ²¹ tn The word order in Hebrew thrusts the direct object to the front for particular emphasis. After the first couple of pieces of furniture are treated (chap. 25), attention turns to the tabernacle itself.

[26:1]  ²² tn This is for the adverbial accusative explaining how the dwelling place is to be made.

[26:1]  ²³ sn S. R. Driver suggests that the curtains were made with threads dyed with these colors (Exodus, 280). Perhaps the colored threads were used for embroidering the cherubim in the curtains.

[26:1]  ²⁴ tn The construction is difficult in this line because of the word order. “Cherubim” is an adverbial accusative explaining how they were to make the curtains. And מַעֲשֵׂה חֹשֵׁב (ma’aseh khoshev) means literally “work of a designer”; it is in apposition to “cherubim.” The Hebrew participle means “designer” or “deviser” so that one could render this “of artistic designs in weaving” (S. R. Driver, Exodus, 280-81). B. Jacob says that it refers to “artistic weavers” (Exodus, 789).

[28:11]  ²⁵ sn Expert stone or gem engravers were used to engrave designs and names in identification seals of various sizes. It was work that skilled artisans did.

[28:11]  ²⁶ tn Or “you will mount them” (NRSV similar).

[28:11]  ²⁷ tn Or “rosettes,” shield-like frames for the stones. The Hebrew word means “to plait, checker.”

[15:9]  ²⁸ sn A quotation from Isa 29:13.

[2:20]  ²⁹ tn See the note on the phrase “elemental spirits” in 2:8.

[2:22]  ³⁰ tn The expression “founded as they are” brings out the force of the Greek preposition κατά (kata).

[2:22]  ³¹ tn Grk “The commands and teachings of men.”

[2:23]  ³² tn Grk “having a word of wisdom.”

[2:23]  ³³ tn Though the apostle uses the term ταπεινοφροσύνῃ (tapeinofrosunh) elsewhere in a positive sense (cf. 3:12), here the sense is negative and reflects the misguided thinking of Paul’s opponents.

[2:23]  ³⁴ tc ‡ The vast bulk of witnesses, including some important ones (א A C D F G H Ψ 075 0278 33 1881 Ï lat sy), have καί (kai) here, but the shorter reading is supported by some early and important witnesses (Ì⁴⁶ B 1739 b m Hil Ambst Spec). The καί looks to be a motivated reading in that it makes ἀφειδία (afeidia) “the third in a series of datives after ἐν, rather than an instrumental dative qualifying the previous prepositional phrase” (TCGNT 556). At the same time, the omission of καί could possibly have been unintentional. A decision is difficult, but the shorter reading is slightly preferred. NA²⁷ puts καί in brackets, indicating doubts as to its authenticity.

[2:23]  ³⁵ tn The translation understands this verse to contain a concessive subordinate clause within the main clause. The Greek particle μέν (men) is the second word of the embedded subordinate clause. The phrase οὐκ ἐν τιμῇ τινι (ouk en timh tini) modifies the subordinate clause, and the main clause resumes with the preposition πρός (pros). The translation has placed the subordinate clause first in order for clarity instead of retaining its embedded location. For a detailed discussion of this grammatical construction, see B. Hollenbach, “Col 2:23: Which Things Lead to the Fulfillment of the Flesh,” NTS 25 (1979): 254-61.

[8:5]  ³⁶ tn Grk “who serve in,” referring to the Levitical priests, but focusing on the provisional and typological nature of the tabernacle in which they served.

[8:5]  ³⁷ tn Or “prototype,” “outline.” The Greek word ὑπόδειγμα (Jupodeigma) does not mean “copy,” as it is often translated; it means “something to be copied,” a basis for imitation. BDAG 1037 s.v. 2 lists both Heb 8:5 and 9:23 under the second category of usage, “an indication of someth. that appears at a subsequent time,” emphasizing the temporal progression between the earthly and heavenly sanctuaries.

[8:5]  ³⁸ tn The word τύπος (tupos) here has the meaning “an archetype serving as a model, type, pattern, model” (BDAG 1020 s.v. 6.a). This is in keeping with the horizontal imagery accepted for this verse (see sn on “sketch” earlier in the verse). Here Moses was shown the future heavenly sanctuary which, though it did not yet exist, became the outline for the earthly sanctuary.

[8:5]  ³⁹ sn A quotation from Exod 25:40.