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 soul-killing work forced on the Children of Israel in Egypt, it was literally a labor of love that would 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 and to give according to their hearts—thus the Mishkan’s magnificence reflected Israel’s wholehearted commitment.

The Mishkan would recreate and reinforce the Sinai experience. It would also house the Aron HaKodesh (Ark of the Covenant). A young descendant of Hur, thirteen year-old Betzalel was tasked by HaShem to carry out the work, possibly even designing the ark. The ark was topped by two kruvim (the name for these two 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 ingot of fine gold as the mercy seat. That single mass of gold symbolizes how God’s presence and His heavenly servants are unified in purpose and essence. The gold itself is referred to as zahav tahor, a refined gold of remarkable purity. The top of the ark was rimmed by a crown ("the crown of Torah"). 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.

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 film’s prop is obviously based on another movie prop fashioned for the 1951 Biblical epic, David and Bathsheba. Both cinematic arks seem to be inspired by French artist James Tissot’s rendering produced around 1900. (seen below)

(Moses and Joshua bowing before the Ark by James Tissot (c. 1900). Jewish Museum, New York City)

According to Maimonides, aka the Rambam, the staves actually ran along the short sides of the ark. (as seen below). 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 the staves ran along the short sides. Otherwise, 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 upwards, in front of the Ark and towards the space between the cherubim. Think about it, 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!

(Ark model built by Jordan Bolinger - Courtesty Lightcatcher Studios)

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, in his commentary Kli Yakar 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. The ark itself serves as a profound visual metaphor offering a myriad of secrets and lessons. One lesson comes from the humble wooden ark within the the larger golden box, symbolic of the potential for molding one's life according to God's direction, a life that reflects the crown of Torah.

Rashi explains that Bezalel made three arks, two of gold and one of wood. The latter was placed into the larger golden one and the smaller golden ark into the wooden ark. The top was rimmed by a crown ("the crown of Torah"), sealed by the kaporet (cover) topped by two kruvim (the name of these two figures comes from the Hebrew root which means, "to draw near"). 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.

The amount of gold used in the ark leads us to speculate how much it weighed. The wood used is also a factor since acacia is a very dense material. So, the ark must have almost impossible to lift. However, Chazal (Jewish Sages) relate that the kohanim responsible for carrying the ark, were actually carried along by it. The staves were likely used to guide the ark. This teaches that those who support Torah scholars are actually supported by them.

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.