from קָלַע; a sculpture (probably in bas-relief); carved (figure), carving, graving.
Transliteration:miqlaʻath
Pronunciation:mik-lah'-ath
Detailed Word Study
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### Core Meaning & Semantic Range
The Hebrew noun מִקְלַעַת (miqlaʻath, `{{H4734}}`) is derived from the verbal root קָלַע (qalaʻ, `{{H7049}}`), which carries a semantic range encompassing "to sling," "to weave," and most pertinently for this noun, "to engrave" or "to carve." Therefore, מִקְלַקַת refers to the *product* of such an action, specifically a "sculpture," "carving," or "graving." The base definition often specifies "probably in bas-relief," suggesting a design that is raised from a flat surface rather than a fully three-dimensional, free-standing figure. This implies an ornamental or decorative purpose, where images are etched or raised upon a material, typically wood or stone. The term highlights the intricate detail and skilled craftsmanship involved in creating such artistic embellishments.
### Biblical Occurrences & Contextual Analysis
The occurrences of מִקְלַקַת (miqlaʻath, `{{H4734}}`) are exclusively found in the detailed descriptions of Solomon's Temple, underscoring its specific application to sacred architectural ornamentation.
* In [[1 Kings 6:18]], it describes the cedar wood paneling within the temple, which was "carved with gourds and open flowers." This detail indicates a natural, organic motif used in the sacred space.
* [[1 Kings 6:29]] elaborates further, mentioning that "all the walls of the house around, inside and outside, were carved with figures of cherubim, palm trees, and open flowers." This verse reveals the rich, symbolic iconography chosen for the Temple's interior and exterior, combining celestial guardians (cherubim) with symbols of life and righteousness (palm trees) and beauty (flowers).
* Similarly, [[1 Kings 6:32]] refers to the two doors of olive wood, which were also "carved with figures of cherubim, palm trees, and open flowers."
* [[1 Kings 6:35]] continues this theme, describing the doors of cypress wood for the nave as "carved with cherubim and palm trees and open flowers."
* The parallel account in [[2 Chronicles 3:7]] reiterates this, stating that Solomon "carved cherubim on the walls."
Collectively, these passages reveal that מִקְלַקַת (miqlaʻath) denotes the highly detailed and symbolic artistic work that adorned the very fabric of the Temple, transforming its surfaces into a rich tapestry of sacred imagery.
### Related Words & Concepts
The primary root related to מִקְלַקַת (miqlaʻath, `{{H4734}}`) is the verb קָלַע (qalaʻ, `{{H7049}}`), which, as noted, can mean "to engrave" or "to carve," directly indicating the action that produces a *miqlaʻath*. Other related concepts include:
* **Craftsmanship:** The general term for "work" or "deed," מַעֲשֶׂה (maʻaseh, `{{H4639}}`), often encompasses artistic creation. The verb חָרַשׁ (charash, `{{H2790}}`), "to engrave" or "to devise," also speaks to the skill involved in such intricate work.
* **Terms for Images or Figures:** While מִקְלַקַת (miqlaʻath) specifically refers to carved ornamentation, other words like פֶּסֶל (pesel, `{{H6459}}`), "carved image," often carry negative connotations when referring to idols. The distinction is crucial: a *miqlaʻath* is a decorative element within God's house, not an object of worship.
* **Specific Motifs:** The recurring mention of כְּרוּבִים (keruvim, `{{H3742}}`, "cherubim"), תְּמָרִים (temarim, `{{H8558}}`, "palm trees"), and פְּקֻעֹת (pequʻot, `{{H6497}}`, "gourds" or "open flowers") are intrinsically linked to the *content* of these carvings, highlighting the divinely prescribed iconography of the Temple.
### Theological Significance
The theological significance of מִקְלַקַת (miqlaʻath, `{{H4734}}`) is profound, rooted in its exclusive association with the Temple.
1. **Divine Value of Beauty and Artistry:** The extensive and detailed descriptions of these carvings demonstrate God's appreciation for beauty and skilled artistry in worship. The Temple was not merely functional but was intended to be a place of exquisite beauty, reflecting the glory and perfection of God Himself. This suggests that worship is to engage all human faculties, including aesthetic appreciation.
2. **Symbolic Representation:** The specific motifs—cherubim, palm trees, and flowers—were not arbitrary. Cherubim symbolized the divine presence and guardianship, recalling their role at the Garden of Eden. Palm trees often represented righteousness, prosperity, and life. Flowers symbolized beauty, growth, and the flourishing of creation. These carvings thus served as constant visual reminders of theological truths and the sacred nature of the space.
3. **Distinction from Idolatry:** Unlike the "carved images" (פסלים, pesalim) of pagan worship that were themselves objects of adoration, the *miqlaʻath* in the Temple were decorative elements that pointed *to* God. They adorned His dwelling place, enhancing its holiness rather than diverting worship. This distinction is vital for understanding the biblical perspective on sacred art.
4. **Human Skill as a Divine Gift:** While not explicitly stated for these specific carvings, the broader biblical narrative (e.g., Bezalel and Oholiab for the Tabernacle) indicates that the skill required for such intricate work was divinely endowed. Thus, the *miqlaʻath* represent human craftsmanship consecrated to God's service.
### Summary
מִקְלַקַת (miqlaʻath, `{{H4734}}`) refers to intricate bas-relief carvings, primarily found adorning the walls and doors of Solomon's Temple. Derived from the root "to engrave" or "to carve," it signifies the detailed artistic work applied to sacred architecture. Its occurrences consistently describe depictions of cherubim, palm trees, and flowers, indicating divinely prescribed symbolic ornamentation. Theologically, *miqlaʻath* underscores God's valuing of beauty and artistry in worship, the power of visual symbolism in sacred spaces, and the crucial distinction between reverent decoration and idolatrous images. It represents human skill consecrated to enhancing the glory of God's dwelling place.
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