a primitive root (probably identical with צָפָה through the idea of expansion in outlook, transferring to action); to sheet over (especially with metal); cover, overlay.
Transliteration:tsâphâh
Pronunciation:tsaw-faw'
Detailed Word Study
AI-Generated
Loading Study...
### Core Meaning & Semantic Range
The Hebrew verb צָפָה (tsâphâh), Strong's `{{H6823}}`, is a primitive root primarily signifying "to sheet over," "to cover," or "to overlay." While the lexicon notes a probable identity with another צָפָה (Strong's `{{H6822}}`, meaning "to watch" or "to look out") through the idea of "expansion in outlook transferring to action," the specific application of `{{H6823}}` is consistently physical. It describes the act of applying a covering layer, most notably with precious metals such as gold, silver, or bronze. The semantic range is therefore quite focused: it denotes the process of encasing, plating, or veneering an object, thereby transforming its outward appearance and often its symbolic value. This action implies a deliberate and often meticulous craftsmanship, imparting beauty, durability, or sacred distinction to the object being covered.
### Biblical Occurrences & Contextual Analysis
The occurrences of `{{H6823}}` are predominantly found within the Pentateuch, particularly in the detailed instructions for the construction of the Tabernacle and its furnishings, and subsequently in prophetic condemnations of idolatry.
In the context of the Tabernacle, the verb is used extensively to describe the overlaying of sacred objects with precious metals:
* The Ark of the Covenant was to be overlaid with pure gold, both inside and out ([[Exodus 25:11]]). This act of covering with gold underscored its supreme holiness and its role as the dwelling place of God's presence.
* The table for the Bread of the Presence was similarly overlaid with pure gold ([[Exodus 25:24]]), as were its carrying poles ([[Exodus 25:28]]).
* The boards of the Tabernacle, its pillars, and the frames for the curtains were to be overlaid with gold or bronze ([[Exodus 26:29]], [[Exodus 36:34]]).
* The Altar of Burnt Offering was to be overlaid with bronze ([[Exodus 27:2]], [[Exodus 38:2]]), signifying its role in atonement and judgment.
* The Altar of Incense was to be overlaid with pure gold ([[Exodus 30:3]]), reflecting its proximity to the Holy of Holies and the preciousness of the prayers and worship it represented.
In these instances, the act of overlaying with gold, silver, or bronze is not merely decorative but deeply functional and symbolic. It sets apart these objects for sacred service, reflecting the glory and purity of the God they serve. The covering transforms the common materials (wood, acacia) into vessels fit for divine use, signifying consecration and divine ownership.
In stark contrast, `{{H6823}}` is also employed in passages condemning idolatry:
* Moses instructs the Israelites to burn the graven images of their gods and to "overlay" (here, a derivative noun from the same root, meaning "the plating" or "covering") the silver and gold on them ([[Deuteronomy 7:25]]). The command is to utterly destroy these objects, implying that even the precious metals used to adorn them are defiled.
* The prophets Isaiah and Jeremiah use `{{H6823}}` to describe the futile efforts of idolaters who "overlay" their lifeless images with gold and silver ([[Isaiah 30:22]], [[Jeremiah 10:4]]). Here, the act of covering does not impart holiness or power but rather a deceptive facade. The outward splendor conceals an inner emptiness and powerlessness, highlighting the stark contrast between the true God and man-made deities.
### Related Words & Concepts
The proposed etymological link between `{{H6823}}` ("to sheet over") and `{{H6822}}` ("to watch, look out") is intriguing. While distinct in their primary usage, a conceptual bridge might be drawn through the idea of "spreading out" or "extending." Just as a watchman "extends" his gaze over a wide area, so too a covering "extends" over a surface. However, it is crucial to maintain the distinct semantic fields in practical application.
Other Hebrew words related to "covering" or "plating" include:
* `{{H3680}}` (כָּסָה - *kasah*): A general term for "to cover," often used for clothing, concealment, or atonement. While broader, it shares the concept of applying a layer over something.
* `{{H5258}}` (נָסַךְ - *nasak*): Meaning "to pour out" or "to cast," which can also extend to "overlaying" with molten metal, particularly in the context of idols ([[Isaiah 40:19]]). This word emphasizes the *process* of casting or pouring metal, whereas `{{H6823}}` emphasizes the *resultant state* of being covered or plated.
Conceptually, `{{H6823}}` is intertwined with themes of:
* **Consecration:** The act of setting apart objects for sacred use.
* **Glory and Purity:** The use of precious metals signifies the divine attributes.
* **Divine Instruction:** The specific commands to overlay Tabernacle items emphasize God's meticulous design and desire for holiness.
* **Idolatry and Deception:** The application of precious metals to idols highlights the superficiality and futility of false worship.
* **Craftsmanship:** The skill required to perform such detailed work, often attributed to divinely gifted artisans like Bezalel ([[Exodus 31:3-5]]).
### Theological Significance
The theological significance of `{{H6823}}` is profound and dual-edged, reflecting both divine glory and human folly.
In the Tabernacle context, the act of overlaying is an integral part of God's design for sacred space. The precious metals (gold, silver, bronze) are not merely aesthetic; they are symbolic. Gold, often associated with divinity, purity, and glory, signifies God's presence and the absolute holiness required in His dwelling place. The covering transforms ordinary wood into sacred furniture, visually representing the sanctification and separation from the common that is characteristic of divine things. This physical act of "overlaying" thus becomes a tangible expression of God's holiness and His desire for His people to approach Him in a manner that reflects His purity. The very act of covering serves to protect the inner sanctities and to project an outward beauty that reflects the glory of the One who dwells within.
Conversely, the use of `{{H6823}}` in relation to idols serves as a powerful theological critique. Here, the overlaying of gold and silver does not impart life or power, but merely cloaks the inherent lifelessness and impotence of the object. The outward show of wealth and beauty is a deceptive facade, a human attempt to elevate the created to the status of the Creator. This contrast highlights the fundamental difference between true worship (where God's glory *indwells* and *transforms*) and idolatry (where human effort attempts to *manufacture* a semblance of glory that is ultimately hollow). The prophets use this imagery to expose the emptiness of reliance on human constructs, reminding the people that true power and salvation come from the living God, not from adorned images.
### Summary
The Hebrew verb צָפָה (tsâphâh), `{{H6823}}`, precisely describes the act of "to sheet over" or "to overlay," most notably with metal. Its primary usage in the biblical text reveals a dual theological significance. In the context of the Tabernacle, `{{H6823}}` denotes the meticulous and divinely commanded process of covering sacred objects with precious metals (gold, silver, bronze), thereby consecrating them, signifying their holiness, and reflecting the glory and purity of God's presence. This act transforms the mundane into the sacred, setting apart vessels for divine service. In stark contrast, the same verb is employed by the prophets to expose the futility and deception of idolatry, where lifeless images are superficially adorned with precious metals. Here, the act of overlaying serves only to create a false appearance of power and worth, highlighting the emptiness of human-made gods. Thus, `{{H6823}}` is a word that powerfully conveys the transformation of objects through covering, whether for divine glory and consecration or for human deception and spiritual emptiness.
TRV