The Colors in the Mishkan (II)

 

INTRODUCTION

 

            In the previous lecture, we began to deal with the colors found in the Mishkan and their spiritual meaning. In this lecture and the one that follow, we will discuss additional points relating to this issue.

 

PURPLE AND SCARLET

 

            We saw in the previous lecture the centrality of blue in the Mikdash. Let us now consider two other colors in the red family: purple and scarlet.

 

            The main places where purple and scarlet appear were noted in connection with blue. Let us briefly mention where these colors appear:[1]

 

• In the structure of the Mishkan: in the inner curtain, in the parokhet, in the screen of the door of the Ohel, and in the screen of the gate of the courtyard.

 

• In the priestly garments: in the efod, in the girdle of the efod, in the breastplate of judgment, and in the pomegranates of the robe.

 

• In the covers of the vessels: there, the purple and scarlet are found independently.

 

Regarding the burnt-offering altar, we read:

And they shall take away the ashes from the altar and spread a purple cloth on it. And they shall put upon it all its vessels with which they minister about it: the pans, the forks, and the shovels, and the basins, all the vessels of the altar. And they shall spread upon it a covering of tachash skins and put in its poles. (Bamidbar 4:13-14)

 

            Regarding the showbread table, we read:

 

And upon the table of showbread, they shall spread a cloth of blue, and put on it the dishes, and the spoons, and the bowls, and the jars for pouring out, and the continual bread shall be on it. (ibid. v. 7)

 

1. purple

 

            Purple (argaman) is mentioned only in connection with the mitzva of building the Mikdash, the priestly garments, the various screens, and the cover of the burnt-offering altar. Unlike tekhelet, it does not appear in connection with any other mitzvot. Rabbenu Bachayei writes:

 

And over the brass altar, which is the burnt-offering altar, they spread a purple cloth, which is redder than a scarlet cloth, because there the [blood of] the sacrifices is sprinkled. (Bamidbar 4:5)

 

            The Ramban adds:

 

And the burnt-offering altar [is covered] with a purple cloth, which is redder than the first one [a scarlet cloth], because there the blood that atones for their souls is sprinkled. (Bamidbar 4:7)

 

            Thus, Chazal and modern historical scholarship concur that argaman is a dark red, the shade of blood – what we have termed purple.

 

            Regarding the purple cover of the burnt-offering altar,[2] the midrash says:

 

The burnt-offering altar, because it was not inside [the Holy], was not covered with blue, but rather with purple. Why with purple (argaman)? Because it would argue Israel free from sin (oreg et Yisrael min ha-chet), for upon it they would offer the daily offerings every day, and sin-offerings, guilt-offerings, burnt-offerings, and peace-offerings. (Midrash Rabba, Bamidbar 4:17)

 

            The commentators on the midrash explain the express "oreg et Yisrael min ha-chet" in various ways:

 

• It sets apart and saves (Matnot Kehuna).

 

• It desires Israel and saves them from sin (Maharzav)

 

2. SCARLET

            The term "tola'at shani" refers to fabrics, materials, or thread dyed red – shani.

 

            Shani is a shade of red, as is clearly evident from Yeshayahu 1:18: "Though your sins be like scarlet (ka-shanim), they shall be as white as snow; though they be red like crimson, they shall be white as wool." The word also appears in the context of the birth of Peretz and Zerach, the sons of Tamar and Yehuda (Bereishit 38:28), and in Shir Ha-shirim (4:3): "Your lips are like a thread of scarlet (ha-shani), and your mouth is comely."

 

            The Rashbam in his commentary writes as follows:

 

“Ve-tola'at shani” – Wool that is dyed red is called tola'at, and the color is called shani. As it is written: "The valiant men metula'im" (Nachum 2:4), which means: wearing garments that are dyed [red]. And similarly: "They that were brought up in tola" (Eikha 4:5), which means: in dyed garments. This is also proven by the verse: "Though your sins be like shanim, they shall be as white as sheleg; though they be red like tola, they shall be white as tzemer." Shani and sheleg are dyes, one red and the other white. But tola and tzemer are both wool; tola is dyed wool, and tzemer is white, without dye. (Commentary to Shemot 25:4)

 

            The Radak says:

 

"They shall be like wool" – My father, of blessed memory, explained: If your sins be like shanim – which is not a deep red - they shall be as white as snow – I shall atone for your sins. If they be very red like tola, they shall be white as wool, which is not as white as snow. (Commentary to Yeshayahu 1:18)

 

            Since argaman and tola'at shani are two shades of red, we must define the precise shade of each. Regarding the cover of the table made of tola'at shani, the Ramban says:

 

The upper covering was tola'at shani, which is red, since the table symbolizes the royal crown, which involves the attribute of justice. (Commentary to Bamidbar 4:7)

 

            The midrash explains the manner in which the table and its vessels were covered, with the cloth of blue separating between them:

 

The table corresponds to the kingdom of the house of David. The table is covered with blue, corresponding to David, who was a righteous man, and the Holy One, blessed be He, made a covenant of kingdom with him, for him and his sons. He therefore separated its vessels from it and covered them with scarlet, for because of the sins of his sons, the kingdom was divided. And therefore it and its vessels had a single covering, because in the end, the kingdom will return to them as at first. (Bamidbar Rabba 4:14)

 

According to the midrash, the blue covering corresponds to David, with whom God made a covenant regarding the kingdom, whereas the scarlet covering alludes to the sins of his sons, which led to the division of the kingdom. These were both covered with a single covering to allude to the fact that in the end, the kingdom will return to them as at the beginning.

 

            Regarding the color red in the Mishkan in general, it should of course be noted that on top of the goats' hair covering of the Ohel, there was a covering of ram skins dyed red, as well as tachash skins. Regarding this covering, the Baraita De-Melekhet Ha-Mishkan states (end of chap. 3):

 

He would bring a large covering of ram skins dyed red, thirty cubits long and ten cubits wide, which he would spread out to cover the Mishkan from the east to the west, as it is stated: "And you shall make a covering for the Tent of ram skins dyed red, and a covering above of tachash skins" (Shemot 26:14). And it was made with stripes on the top; these are the words of R. Nechemia. R. Yehuda said: There were two coverings. The lower one was of ram skins dyed red, and the upper one was of tachash skins, as it is stated: "Its covering, and the covering of the tachash skins that is above upon it" (Bamidbar 4:25).

 

            Thus, we see that R. Yehuda and R. Nechemia disagreed about the relationship between the two coverings (also in Shabbat 28a). According to R. Yehuda, the ram skins dyed red and the tachash skins were two different coverings, the tachash skins being on top of the rams' skins.

 

            According to R. Nechemia, there was only one covering – half ram skins and half tachash skins – "like a striped animal." There are various understandings of how the ram skins and tachash skins were integrated according to R. Nechemia.

 

• In the Baraita De-49 Middot – the red dyed ram skins and the tachash skins constituted one covering in a triangle pattern. The two inner triangles were rams' skins, while the two outer triangles were tachash skins. (This is also the opinion of the author of Ma'aseh Choshev.)

 

• According to Zayit Ra'anan, the covering over the Holy of Holies was made of tachash skins, whereas the covering over the Holy was ram skins.[3]

 

• According to the Rambam and the Midrash Ha-Gadol, the ram skins covered the boards, and the tachash skins covered only the roof.

 

• According to the Moshav Zekenim, the covering was half ram skins and half tachash skins.

 

• According to Rashi, the ram skins only covered the roof of the Mishkan, thirty cubits in length and ten cubits in width (Rashi, Shemot 26:14).

 

• The book Chokhmat Ha-Mishkan records in the name of the Midrash Ha-Gadol that the ram skins also covered the walls of the Mishkan.

 

What did the tachash skins look like? Rashi writes that "it is an unclean animal, with spots of different colors." Others say that it is striped.

 

According to R. Nechemia’s view that there was only one covering, it turns out that the uppermost covering of the Mishkan was also red from the red dyed ram skins. Cassuto notes in his commentary that the color red, striking to the eye from a distance, was also used by the nations at large to mark sanctified places.

 

LINEN

 

Moreover you shall make the Mishkan with ten curtains of fine twined linen (shesh), and blue, and purple, and scarlet; with keruvim of artistic work you shall make them. (Shemot 26:1)

 

            Shesh refers to thin, white threads of linen. The expression “shesh moshzor” teaches that the threads were twined. They would first intertwine thin threads of linen and thus form thicker threads,[4] and these threads would then be woven into cloth.

 

            Like the blue, purple, and scarlet, the linen was found in the structure of the Mishkan (in the inner curtain, in the parokhet, in the screen of the door to the Ohel, and in the screen of the gate of the courtyard), and in the priestly garments (in the efod, in the girdle of the efod, and in the breastplate of judgment). However, in contrast to the blue, the linen is unique in that it was found also in the garments of the ordinary priest (Shemot 28:39) and in the hangings of the courtyard (Shemot 27:9).

 

            White linen garments are simple garments, and therefore serve as the garments of the ordinary priests. The High Priest's garments on Yom Kippur are also white – the garments of an attendant - and not gold – the garments of kings - as are the High Priest's garments all year round (Vayikra 16:4). We have noted in previous lectures the strong connection between the garments of an ordinary priest and the hangings of the courtyard; white linen thus characterizes the courtyard and the service of the ordinary priest.[5]

 

            The importance of the color white in the Second Temple may be learned from the words of the mishna:

 

They [the stones of the ramp and the altar] were whitewashed twice a year, once at Pesach and once at Sukkot, and the Heikhal was whitewashed once a year at Pesach. R. [Yehuda Ha-Nasi] says: They were whitewashed every Friday with a cloth on account of the blood stains. (Middot 3:4)

 

Thus, even at the end of the Second Temple period, the color white played an important role in the Mikdash.

 

            If we try to imagine the colorful appearance of the Mishkan to someone progressively entering into it, we see that the striking white in the hangings of the courtyard and in the garments of the ordinary priests serving in the courtyard constitute a certain contrast to the royal garments of the High Priest and to the blue, purple, and scarlet found in the High Priest's garments and in the structure of the Mishkan itself. This fact expresses a point raised in previous lectures - namely, the contrast between the ordinary priest serving in purity on the courtyard on the outer altar and the High Priest serving in the Mishkan itself, which represents the presence of the Shekhina in the world.

 

            This distinction reinforces the division of the structure of the Mishkan into two parts: the Mishkan itself and the courtyard. The Mishkan represents in its entirety the revelation of the Shekhina and the courtyard represents the service of Israel in the Mishkan.

 

THE MEANING OF THE COLOR OF THE LINEN, THE PURPLE AND THE SCARLET

 

THE COLOUR WHITE[6]

 

            The Maharal of Prague writes in his Netzach Yisra'el (ch. 31):

 

The color white is absolute simplicity, for the color white is not called a color, for this color has absolute simplicity.

 

He writes similarly in Netiv Ha-Torah (ch. 10), where he relates to the High Priest's entry into the Holy of Holies on Yom Kippur in white garments:

 

The Holy of Holies, owing to its holiness, was totally removed from this material world, and therefore he was only permitted to enter the Holy of Holies wearing white garments.

 

            Thus, the Maharal maintains that the color white symbolizes the simplicity of the sacrificial service. Another aspect of the meaning of the color white arises from the words of R. Hirsch:

 

The thread of linen was white. The garments made of linen were called "the white garments" (Yoma 9a). The color white describes in all places, according to human understanding, purity, as it is written: "Let your garments be always white" (Kohelet 9:8). This color symbolizes both physical and moral purity, as it is written: "Purge me with hyssop, and I shall be clean: wash me, and I shall be whiter than snow" (Tehillim 51:9). Similarly: "Though your sins be like scarlet, they shall be as white as snow" (Yeshayahu 1:18). The process of purification is itself called "whitening," as it is written: "Many shall purify themselves and make themselves white and be tried" (Daniel 12:10). We must therefore understand that the color white of the linen is a symbol of purity, of plant-like purity. The statutes relating to moral purity are very prominent in the Torah; they demand that one restrain natural life, passions and lusts, that one distance oneself from sexual corruption and from the desecration of life. These are the conditions without which it is impossible to arrive at spiritual perfection and moral closeness to God. Thus, it is evident that the color white of the linen symbolizes purity. Purity is that level of nobility demanded by the Torah… The color white as a symbol of cleanness and purity is expressed also in the following verses: "If I wash myself with snow water, and make my hands never so clean" (Iyov 9:30), and "Her Nazirites were purer than snow; they were whiter than milk" (Eikha 4:7).

 

            The idea of purity in the white garments about which R. Hirsch speaks fits in well with the role of the High Priest's garments on Yom Kippur: "For on that day He will forgive you, to cleanse you, that you may be clean from all your sins before the Lord" (Vayikra 16:30). Yom Kippur is a day of atonement and purity, which finds expression in, among other things, the white garments with which the High Priest entered to perform the innermost service in the Holy of Holies.

 

            In several midrashim, we find that the Temple itself was called by the color white. Thus, on the verse, "I pray You, let me go over and see the good land that is beyond the Jordan, that goodly mountain region and the Lebanon (Levanon)" (Devarim 3:25), Rashi writes: "And the Lebanon – this is the Temple." The midrash says as follows:

 

R. Shimon ben Yochai taught: Why is it called Lebanon? Because it whitens the sins of Israel like snow. This is what the verse states: "Though your sins be like scarlet, they shall be as white as snow; though they be red like crimson, they shall be white as wool" (Yeshayahu 1:18). (Vayikra Rabba 1:2).

 

            And similarly:

 

"Come with me from Lebanon, my bride, with me from Lebanon" (Shir Ha-shirim 4:8). What is Lebanon? This is the Temple, which is called Lebanon. And why is it called Lebanon? Rather, anyone who went up there with a sin in his hand would not leave there until his sins were whitened like snow, to fulfill what is stated: "Though your sins be like scarlet, they shall be as white as snow." (Midrash Zuta on Shir Ha-shirim 4:8)

 

These midrashim imply that the color white (lavan) was central in the Temple to the point that the entire Temple is called Lebanon because of its whiteness.[7] In all of these midrashim, the similarity between the Temple and Lebanon is connected to the similarity between the white color of snow and the whitening of the sins of Israel in the Temple. A clear and direct example of this transition from the color red to the color white was the whitening of the crimson-colored strap in the Temple on Yom Kippur.

 

From where do we know that a crimson-colored strap is tied to the head of the goat that is sent to Azazel? Because it says: “Though your sins be like scarlet, they shall be as white as snow." (Shabbat 86a)

 

The whitening of the crimson-colored strap is a precise example of Chazal's interpretation of the essence of the Mikdash; the crimson color of the strap whitens, indicating atonement, repair, pardon and forgiveness. This is what Rabbenu Bachayei explains in his commentary to the mitzva of tzitzit:

 

"And they shall make themselves fringes" (Bamidbar 15:38)… And we were commanded to wrap ourselves in it, from that which we expounded (Rosh Ha-Shana 17b): "'And the Lord passed by before him and proclaimed.' Were it not written in the text, it would be impossible for us to say such a thing. This verse teaches us that the Holy One, blessed be He, wrapped Himself in a tallit like a prayer leader and showed Moshe the order of prayer. He said to him: Whenever Israel sin, let them carry out this service before Me, and I will forgive them." What this statement means is that [God] came to teach us the order of prayer and supplication, how we should plead before Him, and that He wrapped Himself in a tallit, and that we should mention before Him the thirteen attributes [of Mercy] with [full] concentration, and He will pardon us. And when it says: "He wrapped Himself," it means in a white tallit, which is a sign of forgiveness and atonement. Just like the color red is a sign of sin, so whiteness is a sign of pardon. This is what it says: "Though your sins be like scarlet, they shall be as white as snow; though they be red like crimson, they shall be white as wool" (Yeshayahu 1:18). (Bamidbar 15:38)

 

            In this context, we find an interesting comment of the Seforno, who connects the color of the red heifer to this idea:

 

One of the principles regarding the heifer is that it be perfectly red. The prophet has already explained that sin is compared to the color red, as it says: "Though your sins be like scarlet, they shall be as white as snow." Therefore, [the Sages] of blessed memory said that they would tie a crimson-colored strap on the entrance to the Sanctuary; if it turned white, they were happy, [and] if it did not turn white, they were sad. (Bamidbar 19b)

 

            In addition to the meaning of the color white connected to purity and refinement, we can add another meaning connected to its physical dimension. As we know, the colors that we see are a reflection of the rays of light that are not absorbed by the objects in question. When we see the color green, it means that all the other colors that came from the sun were absorbed in the object, and only the green was reflected. The color white is unique in that the object upon which the light falls reflects back all the colors, all the light. Black, on the other hand, absorbs all light. In one sense, then, we do not actually see black, but only infer that it exists, as no light is reflected back. (As a result, black also heats up most quickly).

 

R. Meir Shpiegelman argues that this is the meaning of the purity of the color white. Something white retains nothing for itself, but rather reflects back all the colors that it receives, whereas something black absorbs all that it receives.

 

THE RELATIONSHIP BETWEEN LINEN-FLAX AND WOOL-BLUE, PURPLE, AND SCARLET

 

            R. Hirsch adds an interesting distinction regarding this issue:

 

Flax symbolizes the plant dimension of man, nutrition and reproduction with all the passions and lusts that are connected to them, and the actions that bring pleasure to the body…

The garments that were used in the Temple were also divided according to color… Thus, the color of the linen symbolized plant life in particular, and the wool that appeared in three different colors symbolized the fleshly life.[8]

 

R. Hirsch makes an important distinction here regarding the matter at hand. The color of the linen – the white flax that comes from a plant – symbolizes plant life, whereas the wool, which appears in three different colors (blue, purple, and scarlet), symbolizes different shades of fleshly life.

 

THE RELATIONSHIP BETWEEN SCARLET AND PURPLE AND THE MEANING OF THE COLOR RED

 

            Let us continue with the words of R. Hirsch:

 

We have already spoken about linen. The next level is scarlet, and above that purple. Both of these are reds, and so these are merely two shades of the same level. Both are wool, and the color of both shades is derived from a living creature… Having seen that linen symbolizes the vegetative dimension, we can now say that the three shades of wool symbolize the life of that which has an animated spirit.

The color red is mentioned in the Bible in various places, and it symbolizes animated life. As in: "And he sent, and brought him in. Now he was ruddy (admoni), with fine eyes, and good looking" (I Shmuel 16:12). Here, the color symbolizes health and physical perfection. Esav was also born red: "And the first one came out red, all over like a hairy garment" (Bereishit 25:25), "therefore was his name called Edom (red)" (ibid. v. 30). "Her Nazirites were purer than snow, they were whiter than milk, they were more ruddy in body than rubies" (Eikha 4:7); "My beloved is white and ruddy" (Shir Ha-shirim 5:10). This means: pure and full of animated life. The color red also symbolizes blood, as it is written: "Your hands are full of blood" (Yeshayahu 1:15); "Why is your apparel red" (ibid. 63:2); "The shield of the mighty men is made red, the valiant men are in scarlet" (Nachum 2:4). But blood symbolizes not only sin, but also that which bears the force of life: "For the life of all flesh is its blood, on which its life depends" (Vayikra 17:14).

Accordingly, wool symbolizes the fleshly-beastly dimension of human life, and when the wool is red, it symbolizes healthy and animated life. This life is at two levels: purple and scarlet. The Torah lists the materials of which the priestly garments were fashioned in the order of their importance, from the most important to the least important, with all the intermediate levels. Therefore, scarlet appears below the level of purple. We see this in all the verses which mention these colors, e.g., in the verses speaking of the clothing of officers and rulers: "Blue and purple is their clothing, they are all the work of skillful men" (Yirmiyahu 10:9); "Besides the crescents, and the eardrops, and the purple garments that were on the kings of Midyan" (Shoftim 8:26). So too: "And Mordekhai went out from eh presence of the king in royal apparel of blue and white, and with a great crown of gold, and with a wrap of fine linen and purple" (Esther 8:15), and so too: "She makes herself coverlets; her clothing is fine linen and purple" (Mishlei 31:22), but "For all her household are clothed with scarlet" (ibid. v. 21).

The color scarlet is a simple color, as in: "And You, O ruined one, what will you do? Though you clothe yourself with scarlet, though you deck yourself with ornaments of gold, though you enlarge your eyes with paint, in vain shall you make yourself fair; your lovers will despise you, they will seek your life" (Yirmiyahu 4:30). So too: "They that were brought up in scarlet embrace dunghills" (Eikha 4:5).

In this way, life is described at a lower level and at a higher level. The difference seems to be as follows: First, the bodily forces that man shares with all living creatures, and afterwards the forces that are fit for man. Man (adam) is called by that name because of the color red (adom). We already wrote in our discussion of tzitzit that the color red is the color whose light is broken least of all the colors, and therefore this color is most appropriate for man, he being the creature who is closest to God, having been created in the image of God, as it is written: "Yet You have made him a little lower than the angels" (Tehillim 8:6).

Regarding blue, we have already said that it is the color that is seen on the horizon and that it covers that which is not seen, the Divine dimension of creation. Accordingly, we said that the blue thread on a garment points to the Divine dimension of the covenant between God and man. It is the symbol of the pure man who connects with the Divine dimension in every aspect of his life. Thus, we have four colors and materials:

Linen, which represents the vegetative dimension.

Scarlet, which represents the animated dimension.

Purple, which represents the human dimension.

Blue, which represents the Divine dimension.

All the colors are found in man's essence and in his relationship with God.

 

            R. Hirsch assigns meaning to each of the colors. Linen – white, symbolizes purity and the restraint of natural and lustful life and desires. Scarlet and purple – two shades of red – symbolize the animation of life and blood, which symbolizes sin and life itself.

 

            The midrash brings another two analogies that relate to all the metals and colors:

 

The offerings to the Mishkan correspond to the heavenly beings: Gold – this is the sun; silver – this is the moon; brass – this is the west. When the sun sets, the face of the west looks like brass. Blue – this is the firmament; purple – this is the clouds; scarlet – this is the rainbow; and linen – this is the serafim… For the Holy One, blessed be He, said: Just as my dwelling is in heaven, if you make Me a sanctuary on earth, I will dwell in it, as it says: "And let them make Me a sanctuary, that I may dwell among them" (Shemot 25:8). (Midrash Ha-Gadol, Shemot, Parashat Teruma 5)

 

            It seems that the midrash wishes to emphasize the fact that the people of Israel were commanded to build a structure the colors and materials of which are taken from the heavenly world, as if it were taken from heaven and built on earth. Its colors are meant to remind us of heaven and of God's heavenly presence here on earth.

 

            Another analogy is found in the midrash as well:

 

The offerings to the Mishkan correspond to man's body: Gold – this is the soul; silver – this is the body; … Blue – this is tendons; purple – this is flesh; scarlet – this is the blood. The Holy One, blessed be He, said: When I examine them and find them complete and perfect, I dwell among them, as it says: "And let them make Me a sanctuary, that I may dwell among them" (Shemot 25:8). (Midrash Ha-Gadol, Shemot, Parashat Teruma 4)

 

            This midrash likens the various materials and colors used in the Mishkan to the human body. It seems to be saying that there is a correspondence between the world and man, and that the Mishkan, which resembles the body of man, is a microcosm of the world.

 

            It is interesting that a number of commentators, including the Malbim, explain all the allusions of the Mishkan in reference to man's body. The midrash emphasizes the idea of completeness and perfection that leads to the resting of the Shekhina.

 

            In conclusion, I wish to bring the words of the Abarbanel in Parashat Teruma, where he discusses the structure of the Mishkan and adds an additional dimension to the issue of the colors:

 

He who looks will find that everything about the Mishkan was modeled after natural things… He will see that the Mishkan, which was thirty cubits long, was divided into three parts. Into the first two outer parts the priests were granted permission to enter. They allude to the sea and the land, which are places through which people move. The other part of the Mishkan, which is the Holy of Holies, alludes to heaven, through which no man's foot passes… 

 

            Later in his discussion, the Abarbanel relates to the issue of the colors, saying as follows:

 

As all the hangings have four colors, they allude to the four fundamental elements, namely:

The linen alludes to the earth, as flax grows from it.

The purple resembles blood, as it is made from the blood of a particular fish.

The blue alludes to the air.

The scarlet alludes to fire.

The priestly garment, which was of linen, alludes to the entirety of the earth.

The pomegranates allude to lightening and the heavenly lights, and the sound coming from the pomegranates alludes to all the natural things.

For this reason, God commanded that it be woven from the four colors mixed with gold, alluding in my opinion to the light that is scattered in the world…

 

            The colors, which symbolize the four fundamental elements, allude to the idea that the Mishkan represents the entire world; the entire essence of the Mishkan lies in the connection between heaven and earth. This is like the world of the sacrificial offerings - mineral, plant, animal and human – by way of which heaven and earth are joined.

 

            In the next lecture, we will complete our discussion of the colors.

(Translated by David Strauss)

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