Terumah -- Exodus 25:1 – 27:19

Master architect Ludwig Mies van der Rohe (1886-1969) once remarked that "God lies in the details." His refined glass and steel structures defined mid-20th century architecture, and anyone looking carefully at his Seagram Building or the Barcelona Pavilion will notice the way his materials meet with their surroundings – the way form and function work together – and will understand van der Rohe's teaching about the essence of divine design.

In this week’s reading, the Israelites are called upon to contribute a remarkable panoply of the most moral of all materials: gold, silver, and copper; blue, purple, and red-dyed wool; flax, goat hair, animal skins, wood, olive oil, spices, and gems. Together, these precious materials will allow the Divine to dwell in the details of the Mishkan (the portable desert Tabernacle). The command given to Moses could not be any more clear:

Make for me a sanctuary that I may dwell amidst them.” (Exodus 25:8).

The inner chamber is veiled by a woven curtain. That chamber is the sacred space where the Ark of the Covenant is placed, and the Ark houses the tablets of the Ten Commandments. On the Ark’s cover hover two winged cherubim hewn of pure gold. In the outer chamber, the seven-branched menorah stands and showbread is arranged upon a table.

While van der Rohe once quipped that he preferred to be good rather than merely interesting, clearly the Tabernacle is more than just good design, it is the template for a transformative encounter — and that is simply divine!

- Rabbi Aubrey Glazer

Artwork note: This week's illustration depicts a different kind of portable Mishkan, a heart enthused with G-d’s holy presence. Rabbi Stuart Weinberg Gershon writes that "the physical sanctuary of G-d is just a reminder of what G-d really wants – that each person builds a sanctuary within his or her heart for G-d to dwell therein. … G-d has no need to dwell in buildings. What G-d desires more than anything is to dwell – to live – in each of us." Illustration by Christopher Orev Reiger.

Terumah -- Exodus 25:1–27:19

Facebook_CoverDesign_Terumah"Color and I are one."

So quipped Paul Klee during his 1914 painting journey to Tunisia, which he viewed as a major breakthrough for his art. He insisted that the trip enabled him to embrace his calling: "I am a painter."

In this week’s reading, the Israelites are called upon to contribute a remarkable panoply of the most moral of all materials: gold, silver, and copper; blue, purple, and red-dyed wool; flax, goat hair, animal skins, wood, olive oil, spices, and gems. Together, these precious materials will allow the Divine to dwell in the details of the Mishkan (the portable desert Tabernacle). The command given to Moses could not be any more clear:

Make for me a sanctuary that I may dwell amidst them.” (Exodus 25:8).

The inner chamber is veiled by a woven curtain. That chamber is the sacred space where the Ark of the Covenant is placed, and the Ark houses the tablets of the Ten Commandments. On the Ark’s cover hover two winged cherubim hewn of pure gold. In the outer chamber, the seven-branched menorah stands and showbread is arranged upon a table.

The Tabernacle is the divine Artist’s template for a transformative encounter, all contained within a "living shell and skin of the earth on which we live" – that is how color and ritual life become one!

- Rabbi Aubrey Glazer

Artwork note: This week's artwork is a graphic depiction of the Ark’s cherubim. "The cherubim shall have their wings spread upwards, shielding the ark cover with their wings, with their faces toward one another." (Exodus 25:20) The profiles of the cherubim are eagle-like, a nod to the more esoteric descriptions of the cherubim provided by the prophet Ezekiel, the Kabbalists, and others. Illustration by Christopher Orev Reiger.

Terumah -- Exodus 25:1-27:19

CoverDesign_TerumahAddressing fellow architects at a meeting sponsored by the Art Workers' Guild at Barnard's Inn, London, on November 20, 1891, renowned English textile designer, poet, novelist, translator, and socialist activist William Morris (1834 – 1896) critiqued a recent building project:

I repeat again, I think it is the most important side of architecture altogether, the choice of material and the use of material… But what he has produced, at the very best, is not a building which really forms part of the living shell and skin of the earth on which we live, but is a mere excrescence upon it, a toy which might almost as well, except for the absolute necessity that the people should have a roof to cover them, have remained simply a nicely executed drawing in the architect's office."

Morris was vexed by buildings that he felt no longer reflected the noble ideals of architecture and that had abandoned the morality of materials, namely, the ways materials meet and mesh with their surroundings, the way form meets with function, and the way in which design becomes a transcendent experience.

In this week’s reading, the Israelites are called upon to contribute a remarkable panoply of the most moral of all materials: gold, silver, and copper; blue, purple, and red-dyed wool; flax, goat hair, animal skins, wood, olive oil, spices, and gems. Together, these precious materials will allow the Divine to dwell in the details of the Mishkan (the portable desert Tabernacle). The command to Moses could not be any more clear:

Make for me a sanctuary that I may dwell amidst them.” (Exodus 25:8).

The inner chamber is veiled by a woven curtain. That chamber is the sacred space where the Ark of the Covenant is placed, and the Ark houses the tablets of the Ten Commandments. On the Ark’s cover, hover two winged cherubim hewn of pure gold. In the outer chamber, the seven-branched menorah stands and showbread is arranged upon a table.

Mies van der Rohe once quipped that he preferred to be good rather than merely interesting. Clearly, the Tabernacle is more than just good design; it is also the template for a transformative encounter within a “living shell and skin of the earth on which we live.” That is simply divine!

- Rabbi Aubrey Glazer

Image credit: Another in our series of original illustrations inspired by mid-20th century graphic design. The artwork that accompanies this post is an abstract depiction of the spiritually and creatively charged space between the Ark's cherubim. Illustration by Christopher Orev Reiger.