The Veil And The Cherubim

“He drove out the man, and at the east of the garden of Eden he placed the cherubim and a flaming sword that turned every way to guard the way to the tree of life.” – Genesis 3:24

“And you shall make a veil of blue and purple and scarlet yarns and fine twined linen. It shall be made with cherubim skillfully worked into it… and bring the ark of the testimony in there within the veil.” – Exodus 26:31, 33b

“And behold, the curtain of the temple was torn in two, from top to bottom.” – Matthew 27:51

I’ve always had a visual memory. I can remember what Dave or I were wearing at most important moments in our lives. For example, the first time we met in person after months of writing letters, I recall Dave striding towards me clad in a yellow visor, white logo T-shirt, khaki shorts, ankle socks and worn sneakers. Back then, my East Coast sensibilities were somewhat appalled at his casual attire (after hours of deliberation, I had chosen for myself pressed khaki pants and a V-neck black top)—I now realize he was pretty much dressed like everyone in California dresses, but either way, the image is stuck in my head.

In this section of Exodus, God speaks through images crafted in wood, metal, and fabric. Almond blossoms, loops of blue, clasps of bronze—in every detail, he is showing us something about Himself, about how he relates with us. He is telling us a story.

Take the veil. One of its colors was purple. Apparently it took twelve thousand murex snails (carnivorous tropical sea snails) to yield only 1.4 grams of pure violet dye, which was why the color was associated with both divinity and royalty. Worked into the veil are cherubim, which remind us of the first time they are mentioned in Genesis, guarding the tree of life, separating sinful man from the holy presence of God in the garden. Here too, the cherubim separate us from the Most Holy Place, the presence of God at the mercy seat above the ark of testimony, a place only one person could enter only one day a year after elaborate preparations (more on that in Leviticus). When Solomon built the temple, he also worked cherubim into the veil (2 Chronicles 3:14).

Fast-forward to Jesus’ death: the very first thing that happens after he breathes his last is a completely startling event. Behold! Matthew says. The curtain is torn in two! Something happens to an inanimate object in a completely unrelated location! The word for curtain used here (katapetasma) can refer to three different hangings in the tabernacle and temple, but the syntax points to the inner veil. There is the image: the cherubim, torn apart, a way made through. This, spelled out in fabric and dye, is what the death of Jesus meant: a way made for us back into Eden, into the holy presence of God.

Even more fascinating is how the author of Hebrews describes it: “We have confidence to enter the holy places by the blood of Jesus, by the new and living way that he opened for us through the curtain, that is, through his flesh” (Hebrews 10:19-20)—the curtain is Jesus’ flesh. A way was made only through a breaking apart. The flesh that was perfect, divine, and royal—just as the curtain was made of the finest twined linen and the rarest of dyes—that flesh was torn just as the curtain was.

I imagine the image of those cherubim in the veil, both a masterpiece of art and a familiar fixture, and I imagine seeing them destroyed. I imagine the unbelievability of a placed shrouded in unattainable mystery for hundreds and hundreds of years, at the threat of death, now laid open. That is a story I would tell and an image I would remember.