Jeremiah 10:9

KJV

Silver spread into plates is brought from Tarshish, and gold from Uphaz, the work of the workman, and of the hands of the founder: blue and purple [is] their clothing: they [are] all the work of cunning [men].

KJV (with Strong's)

Silver {H3701} spread into plates {H7554} is brought {H935} from Tarshish {H8659}, and gold {H2091} from Uphaz {H210}, the work {H4639} of the workman {H2796}, and of the hands {H3027} of the founder {H6884}: blue {H8504} and purple {H713} is their clothing {H3830}: they are all the work {H4639} of cunning {H2450} men.

Complete Jewish Bible

Silver is beaten into plates, then imported from Tarshish. Gold from Ufaz is worked by a craftsman and shaped by the hands of a goldsmith. They are clothed in blue and purple, all the work of skillful men.

Berean Standard Bible

Hammered silver is brought from Tarshish, and gold from Uphaz— the work of a craftsman from the hands of a goldsmith. Their clothes are blue and purple, all fashioned by skilled workers.

American Standard Version

There is silver beaten into plates, which is brought from Tarshish, and gold from Uphaz, the work of the artificer and of the hands of the goldsmith; blue and purple for their clothing; they are all the work of skilful men.

Commentary

### SUMMARY
Jeremiah 10:9 offers a vivid and detailed portrayal of the meticulous, costly, and ultimately futile process of crafting idols, serving as a powerful indictment against idolatry. The verse meticulously describes the use of precious silver from Tarshish, gold from Uphaz, and luxurious blue and purple fabrics, all fashioned by the skilled hands of human artisans. By highlighting the immense investment of valuable materials and human ingenuity into these inanimate objects, the prophet underscores their inherent lifelessness and powerlessness, contrasting them sharply with the living, sovereign God of Israel whom Judah is called to worship.

### CONTEXT
* **Literary Context:** Jeremiah 10:9 is an integral part of a profound prophetic declaration spanning [Jeremiah 10:1-16](/jeremiah/10-1-16 "Jeremiah's Polemic Against Idolatry"), which functions as a sharp polemic against the idolatrous practices prevalent among the nations surrounding Judah. The preceding verses establish the vanity and utter powerlessness of these man-made deities, setting them in stark opposition to the true God. [Jeremiah 10:1-5](/jeremiah/10-1-5 "Jeremiah 10:1-5 - Do Not Learn the Way of the Nations") admonishes Israel not to be terrified by celestial signs or to adopt the customs of the heathen, which are explicitly labeled as "vanity." This particular verse then provides a detailed, almost satirical, description of the physical construction of these idols, emphasizing their material origins and the human hands involved in their creation. The passage reaches its theological climax in [Jeremiah 10:10-13](/jeremiah/10-10-13 "Jeremiah 10:10-13 - The Lord as the True and Living God"), where Yahweh's unparalleled power, eternal nature, and creative work are magnificently affirmed, providing a direct counterpoint to the lifeless idols.

* **Historical & Cultural Context:** During Jeremiah's ministry (late 7th to early 6th century BCE), the kingdom of Judah was situated amidst powerful empires like Assyria and Babylon, both of which were deeply polytheistic and known for their elaborate idol worship. These cultures invested heavily in grand temples and intricate cultic statues, believing them to be representations or dwelling places of their gods. Despite their covenant relationship with Yahweh, the Israelites were constantly tempted to assimilate these foreign religious practices, especially during times of political instability or perceived divine silence. The specific mention of "Tarshish" and "Uphaz" for silver and gold signifies distant, renowned sources of exceptionally precious metals, indicating the global reach of such idolatrous practices and the immense value placed on these materials. Furthermore, "blue and purple" dyes were extraordinarily costly, extracted from murex snails, and were universally associated with royalty, divinity, and immense wealth in the ancient Near East, underscoring the lavish investment and ceremonial significance attributed to these false gods.

* **Key Themes:** The overarching theme in this passage, powerfully articulated in [Jeremiah 10:9](/jeremiah/10-9 "Jeremiah 10:9 - The Crafting of Idols"), is the **futility and powerlessness of idolatry** when contrasted with the **sovereignty, creative power, and living nature of the one true God**. The verse meticulously highlights the **human origin** of idols ("work of the workman," "hands of the founder," "work of cunning men") to underscore their inherent lifelessness and their inability to act, save, or judge. This stands in direct opposition to Yahweh, who is the [Maker of all things](/jeremiah/10-16 "Jeremiah 10:16 - The Lord, the Portion of Jacob, the Maker of All Things"). Another crucial theme is the **deception of outward appearance**; despite the use of precious metals and luxurious garments, these idols are ultimately empty and unable to deliver on the spiritual promises they represent, as further elaborated in [Jeremiah 10:5](/jeremiah/10-5 "Jeremiah 10:5 - The Powerlessness of Idols"). The passage also implicitly introduces the theme of **divine judgment** against those who abandon the living God for such vanities, a recurring motif throughout Jeremiah's prophetic message.

### EXPOSITION AND ANALYSIS
#### Key Word Analysis
* **Gold (Hebrew, _zâhâb'_):** From an unused root meaning "to shimmer," this term refers to the precious metal, gold. In the context of idol crafting, its shimmering quality highlights the aesthetic appeal and perceived value of the idol, yet paradoxically underscores its inertness. Despite its inherent beauty and worth as a material, gold, when fashioned into an idol, possesses no divine power or life.
* **Workman (Hebrew, _chârâsh'_):** This term denotes a fabricator or artificer of any material, encompassing carpenters, craftsmen, engravers, and smiths. Its use here emphasizes the purely human origin of the idol. The idol is not a divine being but merely the product of human skill and labor, a creation rather than a creator, thereby stripping it of any legitimate claim to deity.
* **Cunning (Hebrew, _châkâm'_):** This word describes someone who is wise, intelligent, skillful, or artful. When applied to "men" in this verse, it refers to highly skilled artisans. The prophet uses this term to acknowledge the impressive human ingenuity involved in crafting these idols, yet he simultaneously exposes the profound irony: even the most sophisticated human wisdom and craftsmanship cannot imbue a lifeless object with divine power, making the worship of such an object utterly foolish.

#### Verse Breakdown
* **"Silver spread into plates is brought from Tarshish":** This clause introduces the first precious material, silver, which is not merely shaped but "spread into plates," indicating a meticulous and costly process of hammering or rolling it into thin sheets for overlaying or intricate design. The origin "from Tarshish" signifies a distant, renowned source, likely a wealthy port city known for its metal trade, emphasizing the expense and exotic nature of the materials used for these idols.
* **"and gold from Uphaz, the work of the workman, and of the hands of the founder":** This introduces the second precious metal, gold, sourced from "Uphaz," another region likely famous for its high-quality gold (possibly a variant or corruption of Ophir). The subsequent phrases, "the work of the workman, and of the hands of the founder," explicitly attribute the idol's existence to human labor and skill. The "workman" (general craftsman) and "founder" (one who fuses or refines metal) underscore that the idol is entirely a product of human ingenuity and physical effort, not divine emanation.
* **"blue and purple [is] their clothing":** This detail describes the luxurious adornment of the idols. "Blue" (tᵉkêleth) and "purple" (ʼargâmân) were extremely valuable dyes, often associated with royalty, priesthood, and divinity in the ancient Near East. This signifies the lavish investment and ceremonial importance given to these idols, designed to convey majesty and sacredness, further highlighting the deception of their outward splendor.
* **"they [are] all the work of cunning [men].":** This concluding phrase serves as a powerful summary, reiterating and emphasizing the central point: despite the costly materials, skilled labor, and elaborate adornments, the idols are fundamentally and entirely "the work of cunning men." This final assertion strips away any illusion of divine origin or power, reducing the magnificent effigies to mere human artifacts, crafted by human hands, and therefore utterly powerless.

#### Literary Devices
Jeremiah 10:9 employs several literary devices to achieve its polemical effect. **Irony** is prominent, as the verse meticulously details the immense value and craftsmanship invested in idols, only to expose their inherent worthlessness as deities. The very elements intended to impress and legitimize the idols—precious metals and skilled labor—become evidence of their man-made, and thus powerless, nature. **Emphasis** is achieved through repetition, particularly the recurring phrase "the work of" ("the work of the workman," "the work of cunning men"), which hammers home the human origin of these objects. This repetition serves to debunk any notion of divine essence. There is also a subtle **contrast** between the inanimate nature of the materials (silver, gold, fabric) and the implied expectation of life or power from the idol, highlighting the absurdity of the worship. The detailed description of the materials and craftsmanship also functions as a form of **descriptive imagery**, painting a vivid picture of the idols' external grandeur while simultaneously setting up the subsequent revelation of their internal emptiness.

### THEOLOGICAL AND THEMATIC CONNECTIONS
Jeremiah 10:9 powerfully underscores the biblical critique of idolatry, emphasizing that anything fashioned by human hands, no matter how valuable or skillfully made, can never possess divine power or authority. This verse serves as a foundational statement against the human tendency to create gods in our own image or to invest ultimate trust in created things rather than the Creator. The theological implication is clear: true worship must be directed solely towards the living God, who is self-existent, omnipotent, and the source of all life, in stark contrast to the lifeless products of human ingenuity. This principle resonates throughout Scripture, warning against both literal idol worship and the more subtle forms of idolatry where we place our ultimate hope, security, or identity in anything other than God.

* [Psalm 115:4-8](/psalm/115-4-8 "Psalm 115:4-8 - The Powerlessness of Idols")
* [Isaiah 44:9-20](/isaiah/44-9-20 "Isaiah 44:9-20 - The Folly of Idolatry")
* [Habakkuk 2:18-19](/habakkuk/2-18-19 "Habakkuk 2:18-19 - The Vanity of Idols")

### REFLECTION AND APPLICATION
Jeremiah 10:9, though describing ancient idol-making, speaks profoundly to the human heart's enduring propensity for idolatry. While we may no longer carve statues of gold and silver, we often invest our deepest affections, time, and resources into things that promise security, happiness, or meaning apart from God. These modern "idols" can be career success, financial wealth, social status, relationships, physical appearance, or even intellectual pursuits. The verse challenges us to examine what truly holds our ultimate allegiance and trust. Are we pouring our most precious resources—our energy, our thoughts, our very lives—into things that are ultimately "the work of cunning men," creations of this world that cannot deliver true peace, lasting joy, or eternal salvation? Or are we investing in the living God, who alone is the source of all life and truth? This passage calls us to a radical reorientation of our worship, directing it solely to the One who is not made by hands, but who made all things and holds all things together.

#### Questions for Reflection
* **What "silver" and "gold" (valuable resources, time, energy) am I investing in things that are ultimately human-made or temporary?**
* **In what areas of my life might I be seeking security, identity, or fulfillment from sources other than God?**
* **How does understanding the futility of ancient idols help me identify and dismantle modern idols in my own life?**
* **What practical steps can I take to reorient my worship and devotion more fully towards the living God?**

### FAQ
**What is the significance of Tarshish and Uphaz in this verse?**

Answer: Tarshish was a distant, wealthy port city, likely located in the western Mediterranean (perhaps modern Spain), renowned for its silver and other metals. Its mention signifies the great expense and exotic nature of the materials used for idol crafting, implying that no cost was spared. Uphaz is a less certain location, possibly a variant name for Ophir, another legendary source of fine gold. Both names emphasize the global reach of the idol trade and the high value placed on the materials, further highlighting the irony of worshipping something so costly yet so utterly powerless, as [Jeremiah 10:5](/jeremiah/10-5 "Jeremiah 10:5 - The Powerlessness of Idols") also points out.

**Does "cunning men" imply that the idol makers were evil or deceptive?**

Answer: The Hebrew word for "cunning" (châkâm) in this context primarily means "wise," "intelligent," or "skillful." It refers to the artisans' exceptional technical proficiency and artistry. While the prophet condemns the *act* of making and worshipping idols, the term "cunning men" here highlights the impressive human skill involved, not necessarily the moral character of the craftsmen themselves. The point is that even the greatest human ingenuity cannot imbue a lifeless object with divine power, making the worship of such objects a profound folly, regardless of the skill involved in their creation. The emphasis is on the object's origin, not the maker's intent, underscoring that anything "the work of cunning men" cannot be God.

### CHRIST-CENTERED FULFILLMENT
Jeremiah 10:9, in its stark contrast between man-made idols and the living God, profoundly foreshadows the person and work of Jesus Christ. The idols described are "the work of cunning men," crafted by human hands and utterly devoid of life or saving power. In stark opposition, Jesus is not a creation but the eternal Creator, the [Word made flesh](/john/1-14 "John 1:14 - The Word Became Flesh"), through whom [all things were made](/john/1-3 "John 1:3 - All Things Made Through Him"). While idols are adorned with precious metals and fine clothing to give an illusion of majesty, Christ's true glory was revealed not in outward pomp but in His humble incarnation and ultimately in His self-giving sacrifice on the cross, where He became the [Lamb of God who takes away the sin of the world](/john/1-29 "John 1:29 - Jesus, the Lamb of God"). The futility of worshipping lifeless objects finds its ultimate answer in Christ, who is the [resurrection and the life](/john/11-25 "John 11:25 - Jesus, the Resurrection and the Life"), offering genuine spiritual life and liberation from the bondage of sin and false worship. He is the true God who is not confined to temples made with human hands but dwells among His people, offering a living relationship that no idol can provide, fulfilling the longing for a real and present deity that idols can only mimic. As [Colossians 1:15-17](/colossians/1-15-17 "Colossians 1:15-17 - Christ, the Image of the Invisible God") proclaims, He is the image of the invisible God, the firstborn of all creation, for by Him all things were created, underscoring His divine nature in contrast to the created nature of idols and establishing Him as the sole worthy object of worship.

Note: Commentary is generated by AI with a directive for Biblical fidelity. Always rely on the Holy Spirit for discernment. The Scripture text and cross-references are from verified, non-AI sources.

Cross-References

Psalms 115:4

Their idols [are] silver and gold, the work of men's hands.

Daniel 10:5

Then I lifted up mine eyes, and looked, and behold a certain man clothed in linen, whose loins [were] girded with fine gold of Uphaz:

Isaiah 40:19

The workman melteth a graven image, and the goldsmith spreadeth it over with gold, and casteth silver chains.

1 Kings 10:22

For the king had at sea a navy of Tharshish with the navy of Hiram: once in three years came the navy of Tharshish, bringing gold, and silver, ivory, and apes, and peacocks.

Ezekiel 27:12

Tarshish [was] thy merchant by reason of the multitude of all [kind of] riches; with silver, iron, tin, and lead, they traded in thy fairs.