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--- kerobim [2024/04/08 20:23] – [Kerobim in Eden] ken
+++ kerobim [2025/02/18 20:19] (current) – [Kerobim in Ezekiel] ken
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 כרובימ
-Also known as "cherubim", kerobim is the plural anthropomorphized derivative of [[kerob]]. But what is a 'kerob'?
+Also known as "cherubim", kerobim is the plural anthropomorphized derivative of [[kerob]]. Commonly, the kerobim are thought to be "angelic beings", typically depicted as chubby infant boys. Is there any basis for this whatsoever within the Hebrew texts?
+The root word [[kerob]] appears to be a flying vehicle. Thus the literal meaning of the plural form 'kerobim'  translates literally as "the flying vehicle people".
-Etymologically, it is difficult to ascertain a literal meaning for '[[kerob]]'. It may or may not be related to [[qerob]] meaning "nearby". If so, the literal meaning of the plural form 'kerobim' (aka cherubim) could be translated literally as "the nearby ones". In this case, the [[kerobim]] may simply be a subset of [[alehim]] based on their location, station, or role.
 The kerobim appear within the texts in only a few very specific contexts, each of which will be examined here.
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 The kerobim make their first appearance in Genesis 3, where they are placed to guard the entrance of Eden so that Adam and Eve may not return.
-//And Yahweh the [[alehim]] said, “The man has now become like one of us, knowing good and evil. He must not be allowed to reach out his hand and take also from the tree of life and eat, and live forever.” So Yahweh the [[alehim]] banished man from the Garden of Eden to work the ground from which he had been taken. After he drove the man out, he placed on the east side of the Garden of Eden cherubim with a flaming sword flashing back and forth to guard the way to the tree of life.//
+//And Yahweh the [[alehim]] said, “The man has now become like one of us, knowing good and evil. He must not be allowed to reach out his hand and take also from the tree of life and eat, and live forever.” So Yahweh the [[alehim]] banished man from the Garden of Eden to work the ground from which he had been taken. After he drove the man out, he placed on the east side of the Garden of Eden kerobim with a flaming sword flashing back and forth to guard the way to the tree of life.//
 From the context, it is clear that the role of the 'kerobim' was as guards. Exodus 37:9 and Ezekiel 28:14 confirm this role, by equating the 'kerobim' with the [[cekekim]], a somewhat less ambiguous word based on the root [[cekek]] which clearly means "to guard" or possibly "to protect".
+This is certainly one aspect of the 'kerebim', but their story is much more complex.
 ====Kerobim in the Temple and Tabernacle====
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 In 2 Chronicles 2:3-7 - King Solomon sent this message to Hiram king of Tyre: //Send me cedar logs as you did for my father David when you sent him cedar to build a palace to live in. Now I am about to build a temple... [it] will be great, because our God is greater than all other gods. But who is able to build a temple for him, since the heavens, even the highest heavens, cannot contain him? Who then am I to build a temple for him, except as a place to burn sacrifices before him? Send me, therefore, **a man skilled to work in gold and silver, bronze and iron, and in purple, crimson and blue yarn, and experienced in the art of engraving**, to work in Judah and Jerusalem with my skilled workers, whom my father David provided.//
-The specific skills required by Solomon are an odd combination of metallurgy, engraving and weaving of specific colored threads. Most peculiarly though, is the requirement that these craftsmen be proficient in engraving arts a specific skill-set that was supposedly outlawed by Moses as part of his so-called Ten Commandments, arguably  the foundational pillars of Judea-Christian ethics and culture to this day, the common translation of which reads “//Thou shalt not make any graven image, or any likeness of any thing that is in heaven above, or that is in the earth beneath, or that is in the water under earth//”.
+The specific skills required by Solomon are an odd combination of metallurgy, engraving and weaving of specific colored threads. The project to be undertaken by these hired craftsmen was for the decorating of a specific set of objects in the new royal temple in Jerusalem. These decorations included 'kerobim'. At least, that is the classic interpretation; the 'kerobim' in the temple were purely decorative.
+Most peculiarly though, decorative arts were strictly outlawed by Moses as part of his so-called Ten Commandments, arguably  the foundational pillars of Judea-Christian ethics and culture to this day, the common translation of which reads “//Thou shalt not make any graven image, or any likeness of any thing that is in heaven above, or that is in the earth beneath, or that is in the water under earth//”.
 Granted, a great span of time had elapsed between the times of Moses and Solomon, so perhaps this apparent contradiction can be explained by the idea that this particular bit of the ten commandments had fallen out of favor culturally during the four-hundred years or so that elapsed. This hypothesis seems at least plausible, but only until one considers the fact that the requirements outlaid by Solomon during the construction of the Temple on Jerusalem actually mirror almost exactly the specifications for the Tabernacle laid out by none other than Moses himself, immediately following the penning of the very commandments which the specifications appear to break.
-The only difference between the cases of Moses and Solomon are that whereas Solomon sought to import skilled workers from Tyre (aka, Lebanon, aka Syria), Moses had no readily available neighboring allies from which to borrow employees and was forced to train some especially for the task. In fact though, it was not Moses himself who performed the training. Rather he handpicked a skilled craftman from among his followers and sent him on a special assignment, to receive a very specifically customized training program. The teachers of this training program were the [[alehim]]
+The only difference between the cases of Moses and Solomon are that whereas Solomon sought to import skilled workers from Tyre (aka, Lebanon, aka Syria), Moses had no readily available neighboring allies from which to borrow employees and was forced to train someone((This man's name was Bezalel, and he is discussed in the book, //UFOs In The Bible// by Ken Goudsward)) especially for the task. In fact though, it was not Moses himself who performed the training. Rather he handpicked a skilled craftsman from among his followers and sent him on a special assignment, to receive a very specifically customized training program. The teachers of this training program were the [[alehim]], and at least some of the instructions for the project were given to Moses from [[ihoh]] himself.((Exodus 25:9 - Yahweh said to Moses, “Make this tabernacle and all its furnishings exactly like the pattern I will show you.”))
+We are now left with an intriguing set of dilemmas.
+  *Why would Moses himself fund a training program to accomplish a task that he had literally just outlawed.
+  *Why would the [[alehim]] be interested in getting involved in the art tutorial business?
+  *Why would [[ihoh]] tell Moses to outlaw visual arts, then give Moses a picture of how to make a sculpture?
+Something strange is going on. Perhaps we have been missing some critical points of information in our traditional telling of these stories.
-These are the same skills that were taught to Bezalel by the Elohim for the construction and programming of the Cherubim, as discussed in [[UFOs In The Bible]].
-Yahweh said to Moses, “Tell the Israelites to bring me an offering. You are to receive the offering for me from everyone whose heart prompts them to give. These are the offerings you are to receive from them: gold, silver and bronze; blue, purple and scarlet yarn and fine linen; goat hair; ram skins dyed red and another type of durable leather; acacia wood; olive oil for the light; spices for the anointing oil and for the fragrant incense; and onyx stones and other gems to be mounted on the ephod and breastpiece. Then have them make a sanctuary for me, and I will dwell among them. Make this tabernacle and all its furnishings exactly like the pattern I will show you.” This information is part of a large download given to Moses, during his fifth trip (and forty day stay) in the UFO atop Mount Sinai. It includes detailed materials lists and build instructions for numerous articles of furniture , ceremonial items and other equipment, as well as for the building itself, which is to be called “the Tabernacle”. The Ark of the Covenant is one of the items outlined in this passage—this fascinating piece merits its own section and will be discussed in detail in a later section. The instructions for the Tabernacle and its components are very detailed and lengthy, consuming no less than six chapters of the Bible. Exact sizes are given for all the dimensions of the building, which is essentially a large courtyard and tent. Why? What purpose does this exacting precision hold? What difference would it make to Yahweh, if Moses built a tent fifty feet long instead of forty-five feet? Exodus chapter 26 goes into detail about particular types of draperies and wooden frameworks plated in gold, specifying the type of thread to use, how to design the various clasps, fasteners, and various other components. One intriguing factor here is a discussion around the fabric for a very specific curtain. “The curtain will separate the Holy Place from the Most Holy Place.” Moses is specifically instructed to “Make a curtain of blue, purple and scarlet yarn and finely twisted linen, with cherubim woven into it by a skilled worker.” Typically, this verse is taken to mean that there are images of ‘cherubim’ embroidered onto or woven into the fabric of the curtain. Along with this, is the understanding that cherubim are a type of angel. So it is easy to picture a fancy curtain with lovely pictures of angels on it. However, there are a few major problems with this interpretation. The next several sections will outline specific problems with several aspects of this interpretation.
+====Kerobim in Ezekiel====
+Ezekiel chapters 8-10 tells of an encounter with 'kerobim'. Ezekiel tells a bizarre tale of an alien entity enters his home while he was visiting with some friends, who he describes as “a fiery figure”, “as bright as glowing metal.” The being then “stretched out what looked like a hand and took me by the hair of my head,”, then “lifted [Ezekiel] up between earth and heaven […] and took [Ezekiel] to Jerusalem.((At the time Ezekiel was living in Babylon as a forced immigrant or perhaps a prisoner of war)) After being teleported or transported by some unknown flying vehicle to Jerusalem, Ezekiel says he sees the kerobim in the temple, along with what sounds like a rocket launch or a spacecraft taking off.
-The Embroidery
-In our examination of this curtain separating the Most Holy Place, it may be helpful to also consider a second curtain described by Yahweh just a few verses later: “For the entrance to the tent, make a curtain of blue, purple and scarlet yarn and finely twisted linen—the work of an embroiderer.” In this case, it is clear that the decorations are an embroidered pattern. Notice that the actual image does not appear to be specified, at least not in this section of the text. Now, examine again the instructions for the first curtain. The word embroider is not used. Rather, the cherubim are to be “woven into it”. It is not yet clear exactly what this might mean, but it is explicitly distinct from the act of embroidering used on the second curtain. Additionally, the second curtain is to be “contracted out” to a third party—some unnamed embroiderer. This is in stark contrast to the first curtain (and indeed, the rest of the structure and furnishings). This fact will be examined further in a moment.
-The Graven Image
-So, did Yahweh really command Moses to go ahead and make a gold embroidered image of an angelic cherubim, a being who resides in heaven above or in the earth below? This interpretation seems extremely unlikely. Particularly, if one is to recall what happened to Aaron and his friends when they decided to ignore that law and make a golden calf. Suffice it to say that all hell broke loose, resulting in capital punishment and death penalties for no less than three thousand of those involved in the incident. It seems rather safe to assume that Yahweh did not in fact command Moses to break his own law, by committing the sin of embroidering pictures of angels onto a curtain. What the bible actually says is that the curtain is to have cherubim woven into it by a skilled worker. Of course, this opens two further questions: “what exactly are cherubim?”, and “just who is this skilled worker?”
-Edit
-The Specialist
-The act of weaving cherubim into the curtain was something separate from an act of embroidery and was performed by a skilled worker of a different sort. In fact, Yahweh himself hand-picks one man to do the job. Yahweh trains him in the techniques required to follow the blueprints and carry out the construction. This is revealed in Exodus 31: Now the Lord spoke to Moses, saying, “See, I have called by name Bezalel, the son of Uri, the son of Hur, of the tribe of Judah. And I have filled him with the spirit of the elohim in wisdom, in understanding, in knowledge, and in all kinds of craftsmanship, to create artistic designs for work in gold, in silver, and in bronze, and in the cutting of stones for settings, and in the carving of wood, so that he may work in all kinds of craftsmanship.”
-Why would such special training be required for the construction of a simple tent? The Israelites were already living in tents. They already knew how to make them. They also already knew metallurgy and smithing. Remember that golden calf? Weaving and goldsmithing were not technologies that they would have needed to import, or even upgrade. So what exactly was it that Bezalel was taught by Yahweh? And why was such advanced knowledge a requirement for building the Tabernacle, and particularly this so-called curtain that was ostensibly just some fabric with a picture of an angel on it. An important clue exists in the verse above, but one would never know it by reading the verse in English. Once again, a terrible act of translation has been committed and allowed to continue by the modern biblical compilers. One phrase in particular bears further investigation:
-I have filled him with the spirit of the elohim in wisdom, in understanding, in knowledge, and in all kinds of craftsmanship, to create artistic designs for work in gold, in silver, and in bronze. Two issues will be examined here: the content of the instruction, and the method of instruction. First the content—we read that Bezalel was trained in: all kinds of craftsmanship, to create artistic designs for work in gold, in silver, and in bronze.
-This translation is problematic. The word ‘bronze’ is the Hebrew word, וּבַנְּחֹֽשֶׁת׃ (ubannehoset), which is sometimes translated brass, or copper, but usually bronze. The reason for this exact translation is fairly sensible. This is because the stories told in the Bible are generally agreed up to a date range corresponding to the so-called ‘bronze age’ which is said to have followed the ‘stone-age’. There is a good reason for this assumption. Around 3300 BCE, advances in metallurgy and kiln building techniques and a global trade network allowed the technology of bronze to spread world-wide. Bronze is an alloy of copper and tin, which is much tougher than either copper or tin by itself, and it is well suited for making weaponry and all types of utensils. At the time, iron was not in use, due to the fact that the kilns of the era could not reach temperatures needed to melt iron. However, this does not mean that pure copper was never used. Just as with gold and silver, there were certain projects that were better suited to copper, than to bronze. The toughest alloy is not always the best material for the job. Even today, there are certain things that we chose copper for over steel or the many modern alloys available. Each metal has its own certain properties, some of which are preferred for various applications. Copper remains the standard metal preferred for applications requiring electrical conductivity. Gold is also an excellent electrical conductor, making it a good choice for projects without the typical budgetary constraints. But surely, the tabernacle doesn’t have anything to do with electricity, does it?
-There is another factor at play here. Within Jewish law there is a concept known as kil'ayim (כלאים‎) which means “mixture,” or “diverse kinds”. There are strict and detailed prohibitions which proscribe the planting of certain mixtures of seeds, grafting, the mixing of plants in vineyards, the crossbreeding of animals, the formation of a team in which different kinds of animals work together, and the mixing of wool with linen in garments. These laws are listed in Leviticus chapter 19, and Deuteronomy chapter 22. Although not specifically listed, it seems obvious that metallurgical alloys would be governed by the same type of standards. The objects listed in the Tabernacle build tend to be ceremonial or structural in nature. They are considered holy. It seems very likely that for such purposes, purity of material would be a far more desirable attribute than simple physical strength. Thus, copper, rather than bronze, seems to be a far superior choice of translation in this particular case.
-Now that we have the materials sorted out, what exactly is it that Bezalel is supposed to do with these pure materials? The phrase to create artistic designs requires careful examination. It consists of three words in Hebrew, לַחְשֹׁ֖ב מַחֲשָׁבֹ֑ת לַעֲשׂ֛וֹת, (“lahsob mahasabot la-asowet”). לַחְשֹׁ֖ב (lahsob) is a verb which can be translated as ‘devise’, ‘plan’, ‘plot’, ‘calculate’, or ‘design’. It is used in many stories where the characters are laying out grand schemes. Likewise, the noun, מַחֲשָׁבֹ֑ת (mahasabot) has similar implications. It means ‘thoughts’, ‘ways’, ‘purposes’, ‘plans’, and ‘plots’. So far, with just the first two words it seems that Bezalel was trained to ‘design plans’ or ‘calculate purposes’
-The third word here is another verb. It describes the noun (which has been identified as “plans or plots”). לַעֲשׂ֛וֹת (la-asowet) means ‘to do’. It is a generic action word. Sometimes, the translators use ‘to perform’. Usually, a verb describes the actions of a subject. Here, the verb is describing the action of an object. That object is the plans or plots or schemes or purposes. The object is not a physical object. The object is the plan. The plan is described as being active.
-So, Bezalel is taught to “design active plans” or “calculate active purposes”. This language has a striking resonance to software engineering. As a computer programmer myself, I design and code programs to act autonomously. They are active plans whose purposes I have designed and calculated. I design active plans and I calculate active purposes. Is it possible that Bezalel, who was already skilled in fine craftsmanship and design, was receiving training in programming or computer operation? Is it possible that the architecture and artifacts within the Tabernacle are meant to function as some kind of computational device? Could this curtain have been some sort of technological component? Perhaps some kind of gold thread lattice or some kind of pattern that was integrated into the actual weave of the fabric itself. For what purpose? More information is required regarding this so-called ‘cherubim’. Before leaving this passage, however, some analysis is required with respect to the method of instruction given to Bezalel. Examining the passage again:
-I have called by name Bezalel, the son of Uri, the son of Hur, of the tribe of Judah. And I have filled him with the spirit of the elohim in wisdom, in understanding, in knowledge, and in all kinds of craftsmanship, to create artistic designs for work in gold, in silver, and in bronze, and in the cutting of stones for settings, and in the carving of wood, so that he may work in all kinds of craftsmanship.
-The bold section here comes from the Hebrew phrase, וָאֲמַלֵּ֥א אֹת֖וֹ ר֣וּחַ אֱלֹהִ֑ים (wa-amal-le otow ruach elohim). The classic translation is laden with modern post-trinitarian doctrine. “I have filled him with the spirit of the elohim.” But again, the translation is shoddy. ‘Wa-amal-le’ means simply ‘filled’, or ‘full’. ‘Otow’ is a very strange word. It occurs hundreds of times in the Bible but is never translated. Rather it seems to be used to affect or modify the sentence in some unknown way. In this case, the translation gives it the meaning ‘him’, but there is really no linguistic basis for the word ‘him’ appearing in this sentence. We do not truly know if the verb “full” is meant to refer to Bezalel himself, or if it refers to one of the other nouns in this sentence. The “wisdom” or the “understanding” are just as promising objects. The implication may just as well be that the curriculum, or the program, or the training material itself, was “full”.
-The Hebrew word ר֣וּחַ (ruach) is a critical concept of theology. It is often translated ‘spirit’, as it is here, but its literal translation is ‘breath’, ‘wind’, ‘mind’, or ‘mood’. The implications of ‘ruach’ are that of motivation, power, ability, and knowledge, and even aesthetic or style; similar to the way the word is still occasionally used in English phrases such as “the spirit of St. Louis”, or the German word ‘zeitgeist’. It does not necessarily imply the typical concept of an autonomous entity such as that which is personified in trinitarian doctrine. Perhaps one way to encompass many of these concepts in English would be with the phrase “the way of”. This phrase bundles motivation, patterns, and style, which is truly what ‘ruach’ has to do. It is a powerful word with a lot tasked to it. So what this verse literally says is not “I have filled him with the Holy Spirit”, but rather “full of the way of the elohim, Bezalel was trained”.
-Consider also Bezalel’s name. Since he enters the narrative only after having received this instruction from the elohim, it is highly probable that his name has already been changed to reflect his new status. This practice is abundantly clear in the case of many other Biblical figures including ‘Israel’ meaning “contended with the elohim”, and ‘Abraham’ meaning “father of many nations”. Bezalel means “in the shadow of the elohim”. His very name backs up the phrase “full of the way of elohim.” He now inhabits their shadow.
-So, what is the conclusion? Bezalel was filled in the way of the elohim, in wisdom understanding and knowledge and craftsmanship to design active plans or calculate active purposes in gold, silver, and copper. These are no mere architectural blueprints. The plans that Bezalel is working with are ‘active’. Bezalel has been instructed in the technology of the elohim in order that he may create these active plans called the cherubim.
-Edit
-====The Cherubim in Ezekiel====
-At first blush, significant portions of the book of Exodus appear to be a set of instructions for a divinely inspired temple: the Tabernacle. As one examines the associated objects, however, a distinct impression begins to arise of something more than a simple static building. The instructions appear to indicate the development of something more mechanical, or perhaps, computational. What exactly are these cherubim that Bezalel is supposed to work on? There are some clues buried in the book of Ezekiel. Ezekiel chapters 8-10 tells of another UFO encounter witnessed by Ezekiel. Again, he gives his precise location and the date. In the sixth year, in the sixth month on the fifth day. Compare this to the date given in Ezekiel 1: In my thirtieth year, in the fourth month on the fifth day. Unfortunately, whereas Daniel gives dates based on the year of the reigning king, Ezekiel’s dating methodology appears to be based upon his own life experiences. In the first case, it is clearly based upon his age— “in my thirtieth year”. However, the second instance is clearly not a continuation of this method. “In the sixth year” he says. It is safe to assume that he is not referring to when he was six years old. The story references previous events earlier in the book, so we know that the book of Ezekiel is told in chronological order. Thus, when he says, “in the sixth year” it most likely means “six years later”, and it appears to indicate that Ezekiel’s second close encounter happened six years after his first.
-This time, he does not witness the landing of the UFO. Rather, an alien entity enters his home “while I was sitting in my house and the elders of Judah were sitting before me”. He describes “a fiery figure”, “as bright as glowing metal.” The being “stretched out what looked like a hand and took me by the hair of my head,”, then “lifted [Ezekiel] up between earth and heaven […] and took [Ezekiel] to Jerusalem. At the time Ezekiel was living in Babylon as a forced immigrant or perhaps a prisoner of war, but not all the Jews had been captured by the Babylonian armies, and many remained in Jerusalem. After being teleported or transported via UFO to Jerusalem, Ezekiel witnesses some strange things , not the least of which is that of a spacecraft taking off. It appears to be the same craft he saw six years earlier. Ezekiel is now standing in Jerusalem, in the holy temple. I looked, and I saw the likeness of a throne of lapis lazuli above the vault that was over the heads of the cherubim.
 When he says “above the vault that was over the heads of the cherubim” he is referring to a physical location, in the temple. These cherubim are the decorations on top of the Ark of the Covenant. This ark was one of the items made by Bezalel for the Tabernacle, and it was eventually moved to the temple in Jerusalem, where it remained at Ezekiel’s time. It is somewhat interesting that Ezekiel was allowed to see it, as the room containing it was considered sacred and only accessible to the high priests on special occasions. Nevertheless, this is what Ezekiel says happened. Yahweh is here also, sitting upon the lapiz throne, and he sends one of his strange companions to fetch some “burning coals” or “fire” from between the cherubim below him, resulting in the whole room filling with smoke. Yahweh’s ship then lifts off, moving out into the courtyard, with blinding light and a loud noise which Ezekiel refers to as the sound of the wings of the cherubim Next, Ezekiel repeats the same scene in more detail. Yahweh’s humanoid assistant (here called “the man in linen”, and who according to Ezekiel chapter 9 seems to be some type of scribe and administrative assistant to Yahweh) is told “Take fire from among the wheels, from among the cherubim” the man went in and stood beside a wheel. Then one of the cherubim reached out his hand to the fire that was among them. He took up some of it and put it into the hands of the man in linen, who took it and went out. (Under the wings of the cherubim could be seen what looked like human hands.)
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 This page is part of a series - see [[im]] backlinks for a dynamic list
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-LexID 93742