1 Kings 7 Solomon Builds the Temple

1 Solomon Builds His Palace
It took Solomon thirteen years, however, to complete the construction of his palace.

2 He built the Palace of the Forest of Lebanon a hundred cubits long, fifty wide and thirty high, with four rows of cedar columns supporting trimmed cedar beams.

3 It was roofed with cedar above the beams that rested on the columns—forty-five beams, fifteen to a row.

4 Its windows were placed high in sets of three, facing each other.

5 All the doorways had rectangular frames; they were in the front part in sets of three, facing each other.

6 He made a colonnade fifty cubits long and thirty wide. In front of it was a portico, and in front of that were pillars and an overhanging roof.

7 He built the throne hall, the Hall of Justice, where he was to judge, and he covered it with cedar from floor to ceiling.

8 And the palace in which he was to live, set farther back, was similar in design. Solomon also made a palace like this hall for Pharaoh’s daughter, whom he had married.

9 All these structures, from the outside to the great courtyard and from foundation to eaves, were made of blocks of high-grade stone cut to size and trimmed with a saw on their inner and outer faces.

10 The foundations were laid with large stones of good quality, some measuring ten cubits and some eight.

11 Above were high-grade stones, cut to size, and cedar beams.

12 The great courtyard was surrounded by a wall of three courses of dressed stone and one course of trimmed cedar beams, as was the inner courtyard of the temple of the Lord with its portico.

13 The Temple’s Furnishings
King Solomon sent to Tyre and brought Huram,

14 whose mother was a widow from the tribe of Naphtali and whose father was a man of Tyre and a craftsman in bronze. Huram was highly skilled and experienced in all kinds of bronze work. He came to King Solomon and did all the work assigned to him.

15 He cast two bronze pillars, each eighteen cubits high and twelve cubits around, by line.

16 He also made two capitals of cast bronze to set on the tops of the pillars; each capital was five cubits high.

17 A network of interwoven chains festooned the capitals on top of the pillars, seven for each capital.

18 He made pomegranates in two rows encircling each network to decorate the capitals on top of the pillars. He did the same for each capital.

19 The capitals on top of the pillars in the portico were in the shape of lilies, four cubits high.

20 On the capitals of both pillars, above the bowl-shaped part next to the network, were the two hundred pomegranates in rows all around.

21 He erected the pillars at the portico of the temple. The pillar to the south he named Jakin and the one to the north Boaz.

22 The capitals on top were in the shape of lilies. And so the work on the pillars was completed.

23 He made the Sea of cast metal, circular in shape, measuring ten cubits from rim to rim and five cubits high. It took a line of thirty cubits to measure around it.

24 Below the rim, gourds encircled it—ten to a cubit. The gourds were cast in two rows in one piece with the Sea.

25 The Sea stood on twelve bulls, three facing north, three facing west, three facing south and three facing east. The Sea rested on top of them, and their hindquarters were toward the center.

26 It was a handbreadth in thickness, and its rim was like the rim of a cup, like a lily blossom. It held two thousand baths.

27 He also made ten movable stands of bronze; each was four cubits long, four wide and three high.

28 This is how the stands were made: They had side panels attached to uprights.

29 On the panels between the uprights were lions, bulls and cherubim—and on the uprights as well. Above and below the lions and bulls were wreaths of hammered work.

30 Each stand had four bronze wheels with bronze axles, and each had a basin resting on four supports, cast with wreaths on each side.

31 On the inside of the stand there was an opening that had a circular frame one cubit deep. This opening was round, and with its basework it measured a cubit and a half. Around its opening there was engraving. The panels of the stands were square, not round.

32 The four wheels were under the panels, and the axles of the wheels were attached to the stand. The diameter of each wheel was a cubit and a half.

33 The wheels were made like chariot wheels; the axles, rims, spokes and hubs were all of cast metal.

34 Each stand had four handles, one on each corner, projecting from the stand.

35 At the top of the stand there was a circular band half a cubit deep. The supports and panels were attached to the top of the stand.

36 He engraved cherubim, lions and palm trees on the surfaces of the supports and on the panels, in every available space, with wreaths all around.

37 This is the way he made the ten stands. They were all cast in the same molds and were identical in size and shape.

38 He then made ten bronze basins, each holding forty baths and measuring four cubits across, one basin to go on each of the ten stands.

39 He placed five of the stands on the south side of the temple and five on the north. He placed the Sea on the south side, at the southeast corner of the temple.

40 He also made the basins and shovels and sprinkling bowls.
So Huram finished all the work he had undertaken for King Solomon in the temple of the Lord:

41 the two pillars;
the two bowl-shaped capitals on top of the pillars;
the two sets of network decorating the two bowl-shaped capitals on top of the pillars;

42 the four hundred pomegranates for the two sets of network (two rows of pomegranates for each network, decorating the bowl-shaped capitals on top of the pillars);

43 the ten stands with their ten basins;

44 the Sea and the twelve bulls under it;

45 the pots, shovels and sprinkling bowls.
All these objects that Huram made for King Solomon for the temple of the Lord were of burnished bronze.

46 The king had them cast in clay molds in the plain of the Jordan between Succoth and Zarethan.

47 Solomon left all these things unweighed, because there were so many; the weight of the bronze was not determined.

48 Solomon also made all the furnishings that were in the Lord’s temple:
the golden altar;
the golden table on which was the bread of the Presence;

49 the lampstands of pure gold (five on the right and five on the left, in front of the inner sanctuary);
the gold floral work and lamps and tongs;

50 the pure gold basins, wick trimmers, sprinkling bowls, dishes and censers;
and the gold sockets for the doors of the innermost room, the Most Holy Place, and also for the doors of the main hall of the temple.

51 When all the work King Solomon had done for the temple of the Lord was finished, he brought in the things his father David had dedicated—the silver and gold and the furnishings—and he placed them in the treasuries of the Lord’s temple.

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Analysis of 1 Kings Chapter 7

The seventh chapter of 1 Kings is a significant part of the Old Testament narrative where the focus shifts from the building of the Temple of the Lord to the construction of Solomon’s royal palace and other structures. This chapter details the elaborate work and intricate designs that went into the construction of Solomon’s palace, the house of the forest of Lebanon, and other important buildings. It also introduces Hiram, a skilled craftsman, who plays a critical role in creating the bronze works that adorned the Temple and palace structures. Let’s delve deeply into the chapter to uncover the theological, historical, and cultural implications embedded within its verses.

Solomon’s Palace: A Symbol of Wisdom and Wealth

“But Solomon took thirteen years to build his own house; so he finished all his house” (1 Kings 7:1). This opening verse of the chapter is intriguing as it emphasizes the extended period (thirteen years) Solomon took to build his own palace. In contrast, the Temple of the Lord took only seven years to complete (1 Kings 6:38). This has been interpreted in various ways, but one perspective is that Solomon’s dedication to precisely constructing his palace underscored his wisdom and the wealth of the kingdom. Solomon’s palace, which included several distinct sections, symbolized stability, prosperity, and the wisdom bestowed upon him by God.

We read about the different parts of his palace complex, which included the House of the Forest of Lebanon, the Hall of Pillars, the Hall of the Throne (also known as the Hall of Judgment), and his own house where he dwelled, which was similar in construction to the Hall of Judgment.

The House of the Forest of Lebanon (Verses 2-5)

The House of the Forest of Lebanon, as described in verses 2-5, was a significant structure measuring 100 cubits long, 50 cubits wide, and 30 cubits high. This building was named because of its construction using cedar pillars from Lebanon, a region renowned for its superior quality timber. The multitude of pillars (forty-five) gave it the appearance of a forest, which is likely how it earned its name. This majestic house highlighted the grandeur of Solomon’s architecture and his ability to amass and utilize resources effectively across his kingdom.

The detailed description of windows framed in three tiers opposite one another mirrored the complexity and precision in architectural design. This reflects not just an aesthetic appeal but the embodiment of order and balance, principles highly revered in Israelite culture. The emphasis on order and beauty in construction aligns with the divine order manifested in God’s creation.

The Hall of Pillars and the Hall of Judgment (Verses 6-7)

Solomon’s Hall of Pillars, described in verse 6, served as a majestic entryway. This hall measured fifty cubits long and thirty cubits broad, with a porch before them and pillars with a canopy. This hall symbolized the welcoming of dignitaries and kings, an essential part of maintaining and displaying the king’s authority and grandeur.

Verse 7 elaborates on the Hall of Judgment, where Solomon would execute justice. The throne room, where Solomon sat on his throne to judge, embodied his role as a wise and fair king, appointed by God to lead and judge his people. This hall, overlaid with cedar from the floor to the ceiling, was designed to be imposing yet accessible, where justice and wisdom prevailed. The finely detailed craftsmanship appealed to the divine qualities associated with justice – such as clarity, transparency, and strength.

Solomon’s Own Residence and Apartments for Pharaoh’s Daughter (Verse 8)

Solomon’s personal living quarters were built similarly to the Hall of Judgment, suggesting that his private life was equally expected to be governed by wisdom and fairness. It’s significant to note that his primary wife, the daughter of Pharaoh, also had a specially designed residence. This not only indicated the political alliances Solomon had through marriage but also underscored the inclusivity and respect within the royal household. The respect for his spouse, a foreign princess, also demonstrated Solomon’s ability to rule with a unifying approach towards different cultures and peoples.

The Bronze Works: Hiram of Tyre’s Craftsmanship

The latter part of the chapter (verses 13-51) shifts to the description of the bronze works crafted by Hiram of Tyre, a highly skilled artisan. Solomon’s decision to bring in a craftsman from Tyre underscores the collaborative efforts and international relations that flourished during his reign. Hiram, brought for his expertise, played a pivotal role in designing and executing the bronze furnishings of the Temple.

The Two Bronze Pillars: Jachin and Boaz (Verses 15-22)

Verses 15-22 detail the construction of two bronze pillars, Jachin and Boaz, which stood at the entrance of the Temple. Symbolically, these pillars were not merely architectural elements but also bore profound meanings. ‘Jachin’, meaning “He will establish,” and ‘Boaz’, meaning “In him is strength,” illustrated the foundational beliefs that underpinned Solomon’s reign and the Temple itself. These pillars acted as a physical declaration of God’s enduring support and strength for Israel.

The intricate designs featuring lilies and pomegranates adorned on the pillars highlight the themes of beauty and fertility. Lilies symbolized purity and new beginnings, while pomegranates were often associated with abundance and the law, given their numerous seeds.

The Molten Sea and Ten Bronze Stands (Verses 23-39)

The Molten Sea, or the Brazen Sea, described from verses 23-26, was an immense basin used for ritual purification, a central theme in the Levitical practices. This large basin, fifteen feet in diameter, rested on twelve oxen statues, representing the twelve tribes of Israel. The symbolic choice of oxen, animals known for their strength and utility, emphasized the sustenance and support God provided for his people.

Verses 27-39 describe the ten bronze stands and the corresponding ten lavers used in various Temple rites. These stands were richly adorned with figures of lions, oxen, and cherubim, illustrating the divine protection and royal authority that surrounded the Temple activities. Each piece of craftsmanship was intended not merely to be functional but also to reflect the grandeur and sanctity of the space it inhabited. The designs invoked imagery that connected heaven and earth, showing that every act of worship was under divine observation and influence.

Summary of Other Bronze Works (Verses 40-47)

Hiram produced various other bronze items, including pots, shovels, and basins, indicating the comprehensiveness of the Temple’s design in facilitating its rituals and daily functions. Verses 40-47 summarize these works and emphasize the exhaustive nature in which Solomon ensured every possible need of the Temple service was preemptively catered for. This reveals not just Solomon’s commitment but the divine guidance and wisdom he adhered to in fulfilling God’s instructions.

Gold Furnishings: Sacred and Pure (Verses 48-51)

The chapter concludes with a summary of the gold furnishings that included the altar, the table for the shewbread, the candlesticks, and various other utensils. Gold, often seen as a symbol of purity, kingship, and God’s divine presence, was extensively used. These golden items solidified the Temple as the earthly dwelling place of God, where purity, holiness, and divine presence prevailed.

The treasures dedicated to the Lord by David were also placed in the Temple’s treasury, encapsulating the continuity of God’s covenant from David to Solomon. This act represented the fulfillment of promises and an ongoing relationship with God through generations, rooted in dedication and faithfulness.

Theological Implications and Contemporary Reflections

1 Kings Chapter 7 offers a rich tapestry of theological and cultural insights:

Divine Wisdom and Human Skill: The intricate details of Solomon’s constructions signify the harmony between divine wisdom and human craftsmanship. Solomon’s reign, characterized by wisdom, finds expression in the meticulous design and execution of the palace and the Temple, emphasizing that human abilities are a reflection of divine endowment.
Order and Beauty: The careful architectural planning underscores the value of order and beauty in divine worship. It teaches us that creating spaces for worship should reflect the holiness and beauty of God’s nature.
Symbolism and Sacred Space: Every element, from the pillars Jachin and Boaz to the Molten Sea, carries symbolic weight, illustrating key aspects of God’s nature and His relationship with Israel. Contemporary faith communities can draw upon these symbols to deepen their understanding of God’s presence and promises.
Inclusivity and Unity: The inclusion of Pharaoh’s daughter’s quarters highlights the importance of unity and respect across different cultures and peoples, a principle that remains relevant in today’s globalized society.
Legacy and Continuity: The placement of David’s treasures in the Temple signifies a continuity of faith and dedication across generations. It emphasizes the importance of honoring past commitments while inaugurating new phases of faithfulness.

As we reflect on 1 Kings Chapter 7 today, it prompts us to consider how our places of worship, homes, and communities can embody divine wisdom, beauty, and order. It challenges us to create environments that not only honor God but also show the richness of His blessings and the depth of our faithfulness.

Understanding the Key Messages in 1 Kings 7: Insights and Explanation

In this chapter, Solomon begins construction of the temple. He seeks the help of Hiram, king of Tyre, who sends craftsmen to assist. Solomon also gathers materials and manpower for the project. The chapter concludes with a description of the temple's grandeur.

Notes

1 Kings 7 highlights Solomon's dedication to building the temple as a place of worship for God. The temple symbolizes God's presence among His people and His faithfulness to His covenant.