Ph.D. Thesis – Fady A. Mekhael; McMaster University – Religious Studies
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The authors of numerous psalms clearly view heaven as a temple where the throne of YHWH
exists, which is the reason why the authors of the psalms note that YHWH can see all humanity and
square stages, each with a side two cubits shorter than the stage below it. Albright argues that the lowest stage,
which functions as the foundation platform should be translated as “the bosom of the earth” (Ezek 43.14)
while the summit of the altar should be understood as “the mountain of the gods” (Ezek. 43:16), a reference
to “the cosmic mountain in which the gods were born and reared” according to Assyrian texts. Albright then shows
that the altar of the temple as Ezekiel envisioned looks similar to the Mesopotamian temple tower, Ziggurat, which
means “the mountain peak.” These Ziggurats are usually depicted in inscriptions decorated with four horns just like
Ezekiel's altar (Ezek 43.15). Albright also notes that in the Chronicler's version of the dedication of Solomon's temple,
Solomon steps on a raised bronze platform in front of the altar and its dimensions are ve cubits long, ve
cubits wide, and three cubits high (2 Chr. 6.12–13). This raised platform placed in front of the altar is attested
elsewhere in ancient Near Eastern inscriptions. One limestone stela found at Ugarit, which Albright dates to 1400
BCE, pictures a king standing on a raised platform before Baal, and the king's hands are upraised in prayer posture,
just like Solomon. Another stela kept in the Cairo Museum portrays a priest standing on a raised platform before a
Syrian god and an incense altar to his side. What is common about these two archaeological scenes is that the
platform has a lid that could be opened. Albright, connecting these two scenes to another inscription of Sargon II of
Assyria which uses cognate terms Kiuri or ki-ur, both of which are linguistically connected to the Hebrew that the
chronicler uses, argues that the meaning of is “the entrance to the underworld.” Hence, the platform’s lid
functions as an entrance point to the underworld. In Hebrew, the term nuances “the foundation of the earth” which
again shows cosmological connections embedded in the temple structures. Based on these observations, Albright
concludes that Solomon’s temple “possessed a rich cosmic symbolism.” The function of these cosmic connections
to the temple, as Albright interprets them, is to further emphasize the ideology of Yahwism through the universality of
YHWH's dominion. In Albright's words: “In the temple, Yahweh was enthroned as the sole ruler of the entire cosmos;
heaven, earth, and underworld were all subject to him.” Albright does not see these cosmic connections as an
extension of the building of the Dwelling Place according to the heavenly pattern shown to Moses. Instead, they
serve a religious ideology to further the rulership of YHWH over the whole cosmos, not just Israel. Jon Levenson
takes a dierent approach, arguing that there is a correlation between the cosmos-building process to the temple-
building process. Levenson nds several thematic and linguistic parallels between both processes. The language of
God’s command occurs in both processes (cf. Gen 1.3 and Exod 39.43), the idea that the work has been completed
(Gen 2.1 and Exod 39.32) and that it has been nished (Gen 2.2 and Exod 40.33b–34) also occur in both processes.
Additionally, the idea of consecration upon nishing the work appears in both processes (Gen 2.3 and Exod. 40.9–
11). Levenson argues that “the function of these correspondences is to underscore the depiction of the sanctuary as
a world, that is, an ordered, supportive, and obedient environment, and the depiction of the world as a sanctuary,
that is, a place in which the reign of God is visible and unchallenged.” The priestly circle looked at the temple in
terms of the cosmos and vice versa – the cosmos is a macro world, the palace of God. For these priestly circles,
cosmogony could only be understood through the ritual act that took place in the temple, and the ritual act is in fact
a cosmic action. Humans could participate in the divine realm through the ritual action performed in the temple as a
cosmic sacred space. Thus, both processes, the cosmic-building and temple-building “implicate each other, and
neither is complete alone.” The temple is the ideal cosmos, and the connections to the creation in the temple serve
to summon up the ideal world that is fully dierent from the present mundane and profane reality. Albright and
Levenson oer dierent ways of approaching the cosmic implications of the Dwelling Place, the temple structure,
and the temple building process, though they intersect at some points. Albright understands the connections
between the cosmos and the temple as a reference to the universality of YHWH’s sovereignty, while Levenson
focuses more on the nature of the temple as a microcosmos that shows how the world should look like if it remains
under YHWH’s control. Again, Levenson, like Albright, sees the connection between the temple and the cosmos as
representing YHWH’s sovereignty, though in a dierent way. Other pieces of evidence, especially from Psalms,
further emphasize this conclusion. See: William F. Albright, Archaeology and the Religion of Israel: The Ayer Lectures
of the Colgate-Rochester Divinity School (Baltimore: John Hopkins University Press, 1942), 144–55; John Levenson,
Creation and The Persistence of Evil: The Jewish Drama of Divine Omnipotence (Princeton: Princeton University
Press, 1994), 86–99.