Georges Seurat created a great artistic masterpiece called, Sunday Afternoon on the Island of La Grande Jatte (1884–1886). Standing about a foot close to it, you can only see tiny colorful dots. However, if you step away from it at a considerable distance, you see a picturesque scene of Parisians sitting in the park on a beautiful Sunday afternoon. This artistic technique is called pointillism, in which tiny points of color are applied to the canvas with the tip of the brush to from an image. It takes a change in one’s vantage point — a view of the entirety of the picture to actually recognize the beauty of the artwork.
It’s the same with Exodus 29. We see God giving Moses specific plans for constructing the holy sanctuary. He gave the prophet detailed instructions for how to build and sew together the tent. He identified pieces of furniture to put inside and what equipment to arrange outside. We get a lot of fine details in this chapter, but it’s hard to appreciate its relevance. We tend to get lost in the details and forget to step back to see the big picture. At the end of the chapter, God explains how the tabernacle achieves the ultimate purpose of bringing glory to His name by saving and sanctifying His people. The thing about such artwork is each dot plays a role in forming the big picture. The târumah offering is part of the whole that forms the picture of God’s glory.
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