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Torah Study Blog

The Mishkan and the Nature of Torah

We first discussed the effect of technology on worship, especially zoom, and the centralization, perhaps, of worship around the Central Synagogue in NYC where Rabbi Buchdahl presides.

Two questions were raised about the Mishkan:  why does the text devote so much time to the Mishkan, an issue discussed in theTorah.com; and, secondly, why is there so much repetition regarding the construction of the Mishkan.

We began our discussion of the text with verse 8 of chapter 39 of Exodus which discusses the breast piece of the high priest.  It is small, about 8 inches per side so it doesn’t cover the whole chest.  The four rows of stones placed upon it must also have been small.  There was no agreement about the nature of the stones among the various translations we used.  The stones represented the different tribes of Israel; the name of a tribe was engraved on each stone and each had different qualities.  The stones were not the Urim and Tumim mentioned in chapter 28, verses 29-31.   These appear in the Dead Sea Scrolls and in the Samaritan text.  The question is whether their omission in chapter 39 was due to scribal error.  The Dead Sea Scrolls are the oldest existing copies of the Torah.

There was an extended discussion of the manner in which the breast piece was attached to the ephod.  It focussed on the placement of the gold rings on the breast piece.  Edna showed us a depiction of the high prient.

We closed with a discussion of the nature of the Torah.  The Orthodox believe the Torah is perfect, even given its obvious mistakes.  How do we teach Torah to kids with an appreciation of the different strands and authors that appear in it?  How can there be absolute certainty?  So how do we address Torah? Is it all true, all metaphor, or progressive revelation?  Is our ability to evaluate it also a divine tool?  A Reform Jew could do the same things as an Orthodox Jew, but the reason behind the actions would be different.

Our artwork this week is by Hong Kong-American Jewish artist, Davi Cheng of Los Angeles, Exodus (left) and Pekudei (right). Cheng says about Pekudei: “For me, the clouds filling the mishkan in parashat Pekudei represent the ruach, the spirit of God, as well as the spirit of the artists and the people of Israel whose hearts moved them to give all they had to create a dwelling place for God.” Cheng is a graphic designer and is past President of Congregation Beth Chayim Chadashim in Los Angeles.

Exodus

- Davi Cheng

Pekudei

- Davi Cheng