The Ark at the Center of the World

In Parashat Terumah (Ex. 25:1–27:19) the Creator shows Moses the pattern for the Tabernacle, the Mishkan (from the Hebrew shakan to dwell). Constructing the Tabernacle was nothing like the grueling labor forced on the Children of Israel in Egypt, it was literally a labor of love to make a place for the Creator's presence to dwell among them. To construct the Mishkan and fashion its kellim (vessels), God asks the nation to offer materials for this sacred project—to give according to their hearts—thus the Mishkan’s magnificence reflected Israel’s faithful commitment. Its purpose was to house the Aron HaKodesh (The Holy Ark) but more importantly to reinforce the Sinai experience.

Thirteen year-old Bezalel, a young descendant of Hur, was the master craftsman chosen to build the Ark, the very first item made for the Tabernacle. The ark serves as a profound visual metaphor offering a myriad of secrets and lessons. It was topped by two kruvim (the name for these two angelic figures is derived from the Hebrew root which means, "to draw near"). Exodus 25:18-20 describes how the kruvim were shaped and hammered from the same mass of fine gold as the mercy seat symbolizing how God’s presence and His heavenly servants are unified in purpose and essence. The gold is referred to as zahav tahor, refined for remarkable purity. The corners of this golden box were fastened with rings into which two staves were inserted. The staves were made from acacia wood, covered with gold and never to be removed from the rings.

Researchers, as well as Jewish commentaries suggest that the amount of gold used in the ark weighed somewhere between two-thousand, possibly up to five thousand pounds, making it impossible for four priests to carry. However, the Talmud in Sota 35a related that the kohanim responsible for carrying the ark, were actually carried along by it. The staves were probably used to guide the ark. This teaches that those who support Torah scholars are actually supported by them.

Regarding the placement of the staves, most paintings, illustrations, and even the film, Raiders of the Lost Ark mistakenly depict the two staves as being attached to the longer sides of the ark. The design for the prop built for the popular film is obviously based on another one fashioned for the 1951 Biblical epic, David and Bathsheba. Both cinematic arks seem to be inspired by French artist James Tissot who painted his illustration around 1900. (seen below)

According to Maimonides, aka the Rambam, the staves actually ran along the short sides of the ark. (as seen below).

(Ark Model designed and built by Jordan Bolinger)

This is supported in the Talmud, in Yoma, 52b:9:

“When he reaches the Ark, he places the coal pan between the two staves. He piles the incense atop the coals, and the whole chamber in its entirety would fill with smoke. He then exits and comes out the way that he entered. He does not turn around but leaves the Holy of Holies walking while facing the Ark.”

The above Talmudic reference reveals that the Kohen Gadol placed the incense pan between the staves, thus supporting the idea that they ran along the short sides of he Ark. If the staves were affixed to the longer sides of the ark, the placement of incense pan would not have been logical, and the smoke would not have been directed upward, in front of the Ark and towards the space between the cherubim. If the staves were placed in the manner as usually depicted in popular art and films, then the High Priest would kneel facing the backside of one of the kruvim!

The top of the ark was rimmed by a crown (alluding to the crown of Torah) and sealed by the kaporet (cover). Rabbi Shlomo Ephraim Luntschitz, taught that a Divine light shown outward from the ark affecting everything around it. The design of the Ark and its eventual placement in the Holy of Holies, upon the Foundation Stone (where creation began), represents a sublime interface between the physical realm and the supernal. A lesson we glean from the humble wooden ark placed within the larger golden box is the potential for molding our lives according to God's direction, a life that reflects the crown of Torah.

The design of the Ark and its eventual placement in the Holy of Holies, upon the Foundation Stone (where creation began) represents an awesome interface between the physical realm and the supernal.

We have already discussed how Israel enthusiastically contributed to the construction of the Mishkan, giving according to their hearts. The timeless design of the Mishkan was the basic layout of the First and Second Temples, as it will for the Third Temple. God never told us to wait on building the Third House. He’s only waiting for us to begin—according to our hearts, to build a House of Prayer for All Nations.