Needlework
Needlework
occurs in the Auth.Ver. twice (Jdg 5:30; Psa 45:14) as a translation of the Heb. rikmah’, properly variegated work (elsewhere “broidered work”); and also of the cognate , rokem’ (Exo 26:36; Exo 27:16; Exo 28:39; Exo 36:37; Exo 38:18), properly an embroiderer (as elsewhere rendered). In Exodus the embroiderer is contrasted with the “cunning workman,” chosheb’ (); and the consideration of one of these terms involves that of the other. Various explanations have been offered as to the distinction between them, but most of these overlook the distinction marked in the Bible itself, viz., that the rokem wove simply a variegated texture, without gold thread or figures, and that the chosaheb interwove gold thread or figures into the variegated texture. We conceive that the use of the gold thread was for delineating figures, as is implied in the description of the corslet of Amasis (Herod. 3:47), and that the notices of gold thread in some instances and of figures in others were but different methods of describing the same thing. It follows, then, that the application of the term “embroiderer” to rokem is false; if it belong to either it is to chosheb, or the “cunning workman,” who added the figures. But if “embroidery” be strictly confined to the work of the needle, we doubt whether it can be applied to either, for the simple addition of gold thread, or of a figure, does not involve the use of the needle. The patterns may have been worked’ into the stuff by the loom, as appears to have been the case in Egypt (Wilkinson, 3:128; comp. Her. 1.c.), where the Hebrews learned the art, and as is stated by Josephus ( , Ant. 3:7, 2).
The distinction, as given by the Talmudists, and which has been adopted by Gesenius (Thesaur. page 1311) and Bahr (Symbolik, 1:266), is this, that rikmah, or “needlework,” was where a pattern was attached to the stuff by being sewn to it on one side, and the work of the chosheb when the pattern was worked into the stuff by the loom, and so appeared on both sides. This view appears to be entirely inconsistent with the statements of the Bible, and with the sense of the word rikmah elsewhere. The absence of the figure or the gold thread in the one, and its presence in the other, constitutes the essence of the distinction. In support of this view we call attention to the passages in which the expressions are contrasted. Rikmah consisted of the following materials, “blue, purple, scarlet, and fine twined linen” (Exo 26:36; Exo 27:16; Exo 36:37; Exo 38:18; Exo 39:28). The work of the chosheb was either ” fine twined linen, blue, purple, and scarlet, with cherubims” (Exo 26:1; Exo 26:31; Exo 36:8; Exo 36:35), or “gold, blue, purple, scarlet. and fine twined linen” (Exo 28:6; Exo 28:8; Exo 28:15; Exo 39:2; Exo 39:5; Exo 39:8). Again, looking at the general sense of the words, we shall find that chosheb involves the idea of invention, or designing patterns; rikmah, the idea of texture as well as variegated color. The former is applied to other arts which demanded the exercise of inventive genius, as in the construction of engines of war (2Ch 26:15); the latter is applied to other substances, the texture of which is remarkable, as the human body (Psa 139:15). Further than this, rikmah involves the idea of a regular disposition of colors, which demanded no inventive genius. Beyond the instances already adduced, it is applied to tessellated pavement (1Ch 29:2), to the eagle’s, plumage (Eze 17:3), and, in the Targums, to the leopard’s spotted skin (Jer 13:23). In the same sense it is applied to the colored sails of the Egyptian vessels (Eze 27:16), which were either checkered or worked according to a regularly recurring pattern (Wilkinson, 3, 211).
Gesenius considers this passage as conclusive for his view of the distinction, but it is hardly conceivable that the patterns were on one side of the sail only, nor does there appear any ground to infer a departure from the usual custom of working the colors by the loom. The ancient versions do not contribute much to the elucidation of the point. The Sept. varies between and , as representing rokem, and and for chosheb, combining the two terms in each case for the work itself ‘) for the first, for the second. The distinction, as far as it is observed, consisted in the one being needle-work and the other loom-work. The Vulgate gives generally plumarius for the first, and polymitarius for the second; but in Exo 26:1; Exo 26:31 plumarius is used for the second. The first of these terms (plumarius) is well chosen to express rokem, but polymitarius, i.e., a weaver who works together threads of divers colors, is as applicable to one as to the other. The rendering in Eze 27:16, scutulata, i.e., “checkered,” correctly describes one of the productions of the rokem. We have lastly to notice the incorrect rendering of the word in the A.V. “broider,” “embroider” (Exo 28:4; Exo 28:39). It means stuff worked in a tessellated manner, i.e., with square cavities such as stones might be set in (comp. Exo 28:20). The art of embroidery by the loom was extensively practiced among the nations of antiquity. In addition to the Egyptians, the Babylonians were celebrated for it, but embroidery in the proper sense of the term, i.e., with the needle, was a Phrygian invention of later date (Pliny, 8:48). There are three words for “weaver” employed in the descriptions of textures used in the tabernacle and the garments of the priest: 1. , oreg, the simpler weaver, who wrought in one color, even though that color were blue (Jdg 16:13; Isa 59:5; Exo 28:32; Exo 39:22; Exo 39:27); 2. , rokem, the color-weaver, who wrought in textures of at least three colors, as he wove cloth made of blue, purple, and scarlet threads, and twined linen (Exo 26:36; Exo 27:16; Exo 28:39; Exo 39:29); 3. , chosheb, the embroiderer, who wrought in the same colors and materials as the color- weaver or rokem, but always with an additional thread, producing figures (Exo 26:1; Exo 26:31; Exo 28:6; Exo 28:8; Exo 28:15; Exo 29:3) (Paine, Temple of Solomon, page 12). See Art of Needlework from the Earliest Ages, by the countess of Wilton (Lond. 1840). SEE EMBROIDER; SEE WEAVE.
Fuente: Cyclopedia of Biblical, Theological and Ecclesiastical Literature
Needlework
ned’l-wurk. See EMBROIDERY.
Fuente: International Standard Bible Encyclopedia
Needlework
maaseh roqem. The veil of the tabernacle, the ten curtains, and the hangings for the door, and for the gate of the court were of needlework of blue, and purple, and scarlet, and fine-twined linen. The coat of fine linen for the priest was embroidered, and the girdle was of fine-twined linen, and blue, and purple, and scarlet, of needlework. Exo 26:36; Exo 27:16; Exo 28:39; Exo 36:37; Exo 38:18; Exo 39:29; Jdg 5:30; Psa 45:14. See BROIDERED. It is typical of the graces and glories which combine in the person of our great High Priest the Lord Jesus Christ.
Fuente: Concise Bible Dictionary
Needlework
See Embroidery
Embroidery
Fuente: Nave’s Topical Bible
Needlework
Psa 45:14 (b) This type illustrates the various beautiful works performed by Christians, whereby they weave a robe of righteousness against the day of their meeting with CHRIST in the judgment.
The Christian has two robes.
The one in Psalm 45 made of golden thread is the product of GOD’s own rich provision. This robe entitles us to come into GOD’s presence. It is described in verse 13, of this 45th Psalm.
The robe which is described in verse 14 is a different robe entirely, and is a robe which we make by good works after we are saved. It is described in Rev 19:8. That robe of fine linen is made of the righteous acts of the saints. We ourselves weave this robe day by day by our Christian activities for our Lord. The first robe of wrought gold we receive by faith when we trust JESUS CHRIST, and make Him the Lord of our lives. The second robe we receive at the marriage supper of the Lamb, and is made up by us in our many words and deeds done for the glory of GOD. The garment mentioned in Mat 22:11 is the garment of wrought gold which is the gift of the mighty GOD to those who heed His call, and come to Him.