Учебная программа по рисунку, живописи и композиции

Рисунок

живопись, графика, скульптура, декоративно-прикладное искусство и архитектура.jpeg

Курс рисунка является основным для всех, кто делает первые шаги в изобразительном искусстве. Он знакомит слушателей с такими важнейшими базовыми понятиями как форма, объем, линия, пятно, свет и тень, рефлекс, плоскость и глубина, пространство, перспектива. Приоткрывает тайны создания на плоскости объемного изображения с помощью карандаша или мягких материалов. Умеющий правильно держать карандаш приобретает ни с чем несравнимую свободу и становится способен выразить любую свою самую смелую фантазию. На уроках рисования Вы научитесь поэтапно рисовать в различных материалах – карандашом, соусом, сангиной, углем. Начав с нуля, постепенно Вы научитесь рисовать натюрморты, цветы, портреты, пейзажи, и даже фигуру человека.

Учебная программа 

· Рисунок геометрических тел. Знакомство с основами рисования: компоновка в листе, организация в пространстве, перспектива, штрих.

· Натюрморт из геометрических тел. Основы композиционного и пластического построения.

· Рисунок архитектурных розеток и драпировок. Знакомство с простейшими формами и ритмами.

· Рисунок гипсовой маски и частей головы Давида. Знакомство с особенностями строения головы человека: глаз, нос, губы, ухо.

· Рисунок черепа. Знакомство с основами анатомии и объемного построения головы человека.

· Рисунок гипсовой головы.

· Портрет. Рисунок живой модели.

· Рисунок фигуры. Знакомство с построением фигуры человека на плоскости.

Живопись

Мастер-классы живописи маслом в хайфе в израиле.jpg

Курс живописи дает возможность попробовать себя в различных живописных техниках от акварели и пастели до масла, темперы и акрила. Вы научитесь видеть и воспринимать мир цветным и передавать свои впечатления на холсте, узнаете, что разные цвета по-разному взаимодействуют друг с другом. С удивлением обнаружите, что для создания сложнейшего и разнообразного по цвету произведения, порой достаточно всего трех красок. А когда кисточки станут продолжением Ваших рук, Вы обогатите это мир новыми живописными шедеврами, достойными занять свое место в самой взыскательной коллекции.

Учебная программа 

·         Натюрморт из простых предметов. Знакомство с основами живописи.

·         Сложный натюрморт. Основы композиционного и пластического построения в живописи

·         Пейзаж

·         Портрет


Композиция

Этот курс предназначен для тех, кто уже знаком с основами рисунка и живописи и намерен развивать свои навыки на качественно новом уровне. Он также является обязательным для тех, кто готовится к поступлению в художественные учебные заведения. Курс композиции познакомит Вас с закономерностями динамического построения изображения на плоскости, научит работать в разных форматах (прямоугольник, квадрат, круг, овал). Вы узнаете, что содержание, эмоциональное наполнение и художественный образ любого произведения искусства зависит в первую очередь от композиционного построения, а законы композиции идентичны для всех видов изобразительного искусства.

Существует множество книг и пособий по композиции, но ни одно из них не научит вас компоновать, не даст рецепт построения картины, потому что рецепта нет, как и нет идеальной композиции.

В композиции все строится на нюансах, о которых невозможно рассказать в общих чертах, без привязки к конкретному композиционному решению.

 Композиция это: главное и второстепенное, понятие пятна и развитие его в формате, организация композиционного пространства, цветовое и тональное решение, выбор формата, ритмика и пластика, пауза и информативное наполнение, дробное и простое пятно, объемное и плоское, решение углов, композиционный центр, подход к краям композиции и Обрезы, контраст и значение касаний, подчинение, закон золотого сечения, линия горизонта

Об этом и многом другом мы будем вести беседу, на основе ваших композиционных эскизов. Вы вплотную сможете подойти к созданию своего собственного, грамотно построенного произведения, что является вершиной изобразительного искусства.

Цели и задачи программы

Основная цель программы : Освоение учениками знаний и навыков начального профессионального художественного образования. Формирование образного, художественного и пространственного видения мира и выражения его языком изобразительного искусства. Для достижения этой цели в обучении используется комплексный подход – программа содержит элементы основных и дополнительных спец дисциплин: рисунка, живописи, композиции, цветоведения, дизайна, прикладной графики, перспективы, декоративно-прикладного искусства. Процесс познания происходит посредством личной художественной деятельности и изучения художественного наследия, а также выдающихся произведений искусства.

Уроки проводятся в контексте взаимодействия различных видов искусства: живописи, музыки, литературы, что развивает изобразительные способности, активизируют творческий потенциал детей, расширяют диапазон воздействия каждого вида искусства и соответствуют возрастным особенностям школьников. Ученики учатся трансформировать слуховые образы в зрительные и создавать на их основе графическое изображение. -Основой обучения является рисование с натуры и сочетается с работой по памяти и представлению.

Процесс обучения строится по принципу «от простого к сложному», от краткосрочных упражнений к длительным заданиям, от общего к частному и вновь к общему. В начале ученик овладевает навыками работы с простейшими геометрическими формами, от плоскостных заданий переходим к заданиям с объемами и пространством. Параллельно происходит работа с развитием колористического видения, основными законами цветоведения, обучения техническим приемам акварельной живописи, гуашью. На основе этого у учащегося постепенно развивается осознанное чувство ритма, движения, силуэта.

Цель занятий композиции состоит в том, чтобы научить понимать язык искусства, а через него его суть, развивать образное восприятие мира, формировать мировоззрение, духовно, нравственно и эстетически развивать учеников. Практические работы выполняются в разных техниках и разными материалами, в различных видах декоративно-прикладного искусства.

Задачи программы:

- приобщение учеников к художественной культуре, обучение их основам изобразительной грамоты, а также выявление наиболее одаренных учащихся для продолжения художественного образования в средних специальных и высших учебных заведениях;

- обучение навыкам и умениям в работе над практическими заданиями, осмысление художественного языка, его особенностей и условностей;

- воспитание у учащихся высоких эстетических критериев, воспитание эстетического вкуса;

- интеллектуальное развитие учащихся, расширение их кругозора;

-развитие цветоощущения, зрительной памяти, художественно-творческой активности, художественных способностей, фантазии;

- обучение основам теории и практики живописи, развитие у учащихся способности видеть и изображать окружающий мир во всем многообразии его цвето-световых отношений. Пользуясь живописными средствами, лепить форму цветом, овладеть техническими приемами акварельной живописи, гуашью и основам цветоведения;

- обучения основам теории и практики графических изобразительных средств: карандаш, тушь и иных графических материалов;

- научить учащихся видеть и изображать на плоскости предметы окружающего нас мира по средствам передачи их формы, объема, материала, фактуры, их положения относительно друг друга и глада рисующего в световоздушной среде различными графическими средствами: линией, штрихом, пятном;

- формирование навыков передачи цветом и тонам предметов с натуры, по памяти, представлению и умений пользоваться художественно-выразительными средствами живописи, графики, углубление знаний по перспективе, цветоведению, дизайну, передаче формы и объема композиции, воспитание и развитие у учащихся художественного видения, способность не просто копировать действительность, а выражать свое отношение композиционного решения;

- выявлять и развивать индивидуальные наклонности и способности учащихся; - приобщение к наследию отечественного и мирового искусства.

Принципы построения программы:

- постепенное усложнение заданий от простого к сложному, от краткосрочных к длительным заданиям;

- закрепление полученных знаний в ходе выполнения последующих заданий;

- индивидуальный подход к учащемуся с учетом уровня его индивидуального развития.

Формы и методы обучения

В процессе занятий используются формы занятий: традиционные, комбинированные и практические занятия.

Методы, в основе которых лежит способ организации занятия:

- словесный (устное изложение, беседа, рассказ);

-наглядный (показ видео и мультимедийных материалов, иллюстраций, работ учащихся, наблюдение, показ (выполнение) педагогом, работа по образцу и др.);

- практический.

Методы, в основе которых лежит уровень деятельности детей:

- объяснительно-иллюстративный – дети воспринимают и усваивают готовую информацию;

- репродуктивный – учащиеся воспроизводят полученные знания и освоенные способы деятельности;

- частично-поисковый – участие детей в коллективном поиске, решение поставленной задача совместно с педагогом;

- исследовательский – самостоятельная творческая работа учащихся.

Методы, в основе которых лежит форма организации деятельности учащихся на занятиях:

- фронтальный – одновременная работа со всеми учащимися;

- индивидуально-фронтальный;

- индивидуальный.

Ожидаемые результаты

К концу обучения учащиеся должны:

- знать и осознанно пользоваться выбором формата листа и умением компоновать изображение на листе;

- уметь построить форму предмета с использованием знания пропорции и конструкции предмета, с применением осевых конструктивных и вспомогательных линий;

- умение передать объем с помощью светотени, передачи фактуры и тона предмета;

- видеть и изображать на двухмерной плоскости листа: форму, oбъем и пространство графическими материалами: линией, штрихом и пятном, а также цветом и тоном;

- развить способности целостного видения, умение наблюдать и запоминать увиденное, сюда входит развитие остроты и точность глазомера в определении пропорции и светотеневых отношениях;

- для понимания пространства формы использовать знания перспективы, геометрической конструкции предметов, основ анатомического строения человека, животных, птиц, геометрические тела, проволочные каркасы помогают понять строения формы, перспективу, закономерности распределения светотени, развивают пространственное изображение, умение видеть цвет;

- усвоить сведения по цветоведению: понятие спектра, о его цветах основных и дополнительных, теплых и холодных, контрастных и сближенных, понятие локальный цвет, о влиянии на него света, о роли тона в передаче формы и материальности предмета, о светосиле цвета воздушной среды, взаимодействие цветов, рефлексе;

- научиться последовательно вести этюд, брать большие цветовые отношения, передавать свето-воздушную среду и материальность предметов;

- развивать осознанное восприятие света, осмыслить понятие формата, ритма, тона, понятие декоративности, законы соподчинения и контрасты, иметь понятие цельного и детали, колористической цельности листа; - знать и осознанно пользоваться разнообразными материалами (гуашь, акварель, пастель, карандаш, тушь и т.д.), свободно работать карандашом и кистью (постановка руки);

- выработать навыки поэтапного и аккуратного ведения работы;

- знать основные жанры (натюрморт, пейзаж, анималистический жанр, портрет) и виды произведений (живопись, графика, скульптура, декоративно-прикладное искусство и архитектура) изобразительного искусства;

- развить внимание, память, мышление, пространственное воображение; мелкую моторику рук и глазомер; художественный вкус, творческие способности и фантазию;

- улучшить свои коммуникативные способности и приобрести навыки работы в коллективе

“Beit Galim 9” Open House Festival, in Bat Galim, Haifa, on September 27-29, 2018

Beit Galim 9 Artists Open House Festival in Bat Galim Haifa.jpg

Shalom friends,
We want to invite you at a very special 3 days’ event “Beit Galim 9” Open House Festival, in Bat Galim, Haifa, on September 27-29, 2018.
84 local artists and artisans will exhibit their art in 25 complexes - private houses and public buildings. 4 main exhibitions, music performances, plays, lectures, workshops, children's area on Bat Galim Promenade, free guided tours to historic and special houses and more.

The Secret - Ghenadie Sontu oil canvas 50 x 60 cm 2015 - 1000 USD.jpg


Ghenadie Sontu will exhibit his “Stories Collection” at Pinat Gan 3 Str. (, רחוב פינת גן3 )
Ghenadie Sontu graduated from the Academy of Music, Theatre and Fine Arts of Moldova in 2005, where he focused his studies in the “alla prima” methods and practices of traditional and contemporary realism style. Since his graduation, Ghenadie has been a full-time artist and has exhibited his works across the world. While known primarily for his mastery in portrait and still life painting, he is accomplished in figurative and landscape painting as well.
Ghenadie works and lives in Haifa and is a member of the Israel Painters and Sculptors Association.

For more information about this event please contact us at:
Tel: 054 344 9543.
www.ghenadiesontu.com
www.facebook.com/ghenadiesontuart

https://www.facebook.com/events/535943620188824/

The 7 Pieces of Furniture of the Tabernacle

God gave the specific order for the arrangement of the furniture (Exodus 40:20-38). If you could trace a line around their divine order the following would appear (the ark and mercy seat are two pieces forming one).

mishkanfurnishings The 7 Pieces of Furniture of the Tabernacle.jpg

The tabernacle and its rituals are called a “shadow of good things to come”; the salvation of Jesus Christ – of which He is the substance (Hebrews 9:9-11, 10:1, Colossians 2:17). Many still focus on religious rituals rather than receiving the reality – the Lord Jesus Christ as their Lord and Savior. They are chasing shadows. They are like a husband who sees the shadow of his bride appearing as she is ready to walk down the aisle. He then ignores his bride and embraces her shadow. Are you chasing shadows or have you embraced the only living Savior?

1. The Altar of Sacrifice

The first piece a worshipper would encounter as he came through the door was the altar. It was wood covered with brass (or copper at that time). It was a perfect square with horns on each of the 4 corners. It was where the blood sacrifices of clean lambs and goats would be offered in the heat of fire unto God for atonement (the covering and forgiveness of sins) (Exodus 27:1-8, Leviticus 17:11).

Since the brazen altar was FIRST, it tells us that judgment on sin and forgiveness must come first in one’s approach to God.

If the courtyard had been set up with no altar or priest to offer the sacrifice, it would convey that one could come into God’s presence without a sacrifice or mediator. Some religions teach this way. But the altar says our sin must be dealt with first by God’s ordained Priest.

It was the Son of God who on the cross sacrificed His sinless blood on behalf of the sinner; ” Christ died for our sins.” Behold the Lamb of God, which taketh away the sin of the world (1Corinthians 15:3, John 1:29). It was Jesus who was resurrected as the High Priest. When people receive the Lord Jesus Christ by faith, they are taking their place as a sinner under judgment and trusting Christ alone as their Savior before God.

The equal four sides of the altar remind us that the gospel of Christ is nondiscriminatory. For God so loved the world (north, south, east and west) what He gave his only begotten Son, that whosoever believeth in Him should not perish but have everlasting life” (John 3:16). The four horns speak of power. The blood of Jesus Christ has the power to forgive all sin (1John 1:7, 9).

2. The Laver of Washing

The second piece of furniture was a washing basin for the priests called the laver (lavatory – place of washing). It came after the altar of sacrifice and before the entrance to the sanctuary. It was made of polished copper. Its purpose was “to wash”. The priests had to daily wash their hands and feet from dirt and contamination before they worshipped God at the altar or entered the sanctuary to serve. The laver was not for the shedding of sacrificial blood for sin but for the washing of dirt. One had to be clean to serve. (Exodus 30:18-21).

This second piece tells us that God is not only interested in the forgiveness of our sin but also our daily cleanliness in living for Him.

The New Testament teaches that once one is forgiven of sin by Christ’s sacrifice he or she receives the “living water” of the Holy Spirit. One purpose of the Spirit is to renew our minds to serve God acceptably. We also read of “the washing of water by the word.” As the Christian daily learns God’s Word, the Bible, he or she is cleansed from wrong thinking and ways so his service is acceptable to God. (John 8:37-39, Romans 12: 102, Hebrews 12:28, Ephesians 5:26, Psalm 119:11).

If the order was the laver first and the altar second the picture would convey that Christ’s gospel says to live clean and then God will forgive and make one right. Many religions proclaim this order. But God’s order reveals that first God forgives by Christ and then He gives the power (Spirit) for one to live clean unto Him.

The Holy Place

(The First Sanctuary with 3 Pieces of Furniture)

The holy place contained gold not copper: the golden lampstand, the golden table of bread and the golden altar of incense. Here the washed priests entered to perform service and representative worship unto the Lord. This section tells that God is not only interested in our forgiveness and daily cleanliness but also our worship.

3. The Golden Lampstand

On the south side of the holy place stood the pure golden lampstand. The gold was formed into the shape of an almond tree in the full bloom of life by beating or hammering. It had six fruitful branches with a central shaft or trunk. They were designed to hold seven bowls filled with olive oil to provide light. Light and life merged together in one unit. The light was continual and was never to go out.

There was no light at all in the holy place except that which came from the golden lampstand. The varied colors and beauty of the inner sanctuary could only be seen in this one light.

John 1 presents the one Christ (Jesus) as both light and life. “In Him was life; and the life was the light of men.” He alone as God in the flesh gives life eternal and the light to understand and know God. The number six of the branches reminds us of man (created on the sixth day). The number seven of the lamps reminds us of God’s perfect number (resting on the seventh day for all things were completed and good). Jesus Christ is both six (man) and seven (God) in one person.

The church of the Lord Jesus Christ is also pictured as a lampstand through which his Spirit and Word reveals the gospel truth and glory of God (Revelation 1:20).

4. The Golden Table of Showbread

Directly opposite the lampstand stood the table of showbread on the north side. One could only see the bread by the one light. Twelve loaves of bread were set on it once a week. During the week the bread was to be displayed before God. On the Sabbath the priests were to eat it. Thus God and man shared the same table together in fellowship of the same bread.

A table is a place where friends fellowship while eating. We read of the “Lord’s table” in the New Testament where the Christian breaks the bread and eats it in the fellowship of the body of Christ (1Corinthians 10:16-21). Here God and man are in harmony over the same thing: the sacrifice of Jesus Christ. His death was pleasing to the Father as an acceptable offering for our sin and His death is precious to us as the means by which we are forgiven and know God’s love (Romans 5:8).

5. The Golden Altar of Incense

The third and last piece of furniture in the holy place was the altar of incense with its four horns. This stood by the veil, which separated the holy place from the holiest of holies. This altar was for one purpose only: to burn incense, not sacrifice. The incense was a special God-prescribed formula, which sent out a rich fragrant smoke when the priest lit it at morning and evening.

Incense pictures prayers to God (Psalm 141:2, Revelation 5:8, 8:3). When one prays in the name of God’s priest (the Lord Jesus) there is power and it is a pleasing aroma to God.

The Holiest of Holies

(The Second Sanctuary with 2 Pieces of Furniture)

The holiest place of all contained the Ark of the Covenant covered with a special lid called the mercy seat. This was where God’s presence resided and where He communed (talked) with Moses (Exodus 25:22). The veil or curtain blocked the way so others could not enter in. However, the minute the Lord Jesus died on the cross the veil, then in the temple, was split in two showing the way was now made for all to come into the communion with God (Matthew 27:51, Hebrews 9:7-8, 10:19-21).

6&7 The Golden Ark and Mercy Seat

The Ark was a chest made out of wood covered with gold and sporting a crown border like the table and incense altar. It, however, rested in the holiest place where the presence of God dwelt. The chest contained the two tablets of the Ten Commandments: God’s standard of righteousness – a golden pot of manna: Gods provision to sustain His people in life – and Aaron’s rod that budded with life: God’s choice as High Priest to be our continual mediator and intercessor (Psalm 40:6-10, John 6:51, Hebrews 4:14).

The Mercy Seat was the cover of the ark. It was solid gold beaten into winged cherubim; one at each end looking down where God’s presence was. Cherubim are involved with the protection of God’s holiness. Here, once a year, the high priest alone went in with sacrificial blood from the brazen altar to sprinkle it on the mercy seat to obtain forgiveness of sins for Israel.

The mercy seat tells us that there is mercy with God. The sacrifice of Christ is God’s mercy seat (Romans 3:25). “Neither by the blood of goats and calves, but by His own blood He [the Lord Jesus] entered in once into the holy place [heaven], having obtained eternal redemption for us [all believers]” (Hebrews 9:12).

Follow the tabernacle signs and they will lead you to His Son, Jesus Christ the Lord

Reuven Rubin - Israeli painter

Reuven Rubin Israel Art Judaica.jpg

Reuven Rubin (Hebrew: ראובן רובין‎; November 13, 1893 – October 13, 1974) was a Romanian-born Israeli painter and Israel's first ambassador to Romania. 

Rubin Zelicovici (later Reuven Rubin)[2] was born in Galaţi to a poor Romanian Jewish Hasidic family. He was the eighth of 13 children.[1] In 1912, he left for Ottoman-ruled Palestine to study art at Bezalel Academy of Art and Design in Jerusalem. Finding himself at odds with the artistic views of the Academy's teachers, he left for Paris, France,[3] in 1913 to pursue his studies at the École Nationale Supérieure des Beaux-Arts. At the outbreak of World War I, he was returned to Romania, where he spent the war years.

In 1921, he traveled to the United States with his friend and fellow artist, Arthur Kolnik, with whom he had shared a studio in Cernăuţi. In New York City, the two met artist Alfred Stieglitz, who was instrumental in organizing their first American show at the Anderson Gallery.[4] Following the exhibition, in 1922, they both returned to Europe. In 1923, Rubin emigrated to Mandate Palestine.

Rubin met his wife, Esther, in 1928, aboard a passenger ship to Palestine on his return from a show in New York City. She was a Bronx girl who had won a trip to Palestine in a Young Judea competition.[1] 

The history of Israeli art began at a very specific moment in the history of international art, at a time of Cezannian rebellion against the conventions of the past, a time typified by rapid stylistic changes.[5] Thus Jewish national art had no fixed history, no canon to obey. Rubin began his career at a fortunate time.

The painters who depicted the country’s landscapes in the 1920s rebelled against Bezalel. They sought current styles in Europe that would help portray their own country’s landscape, in keeping with the spirit of the time. Rubin’s Cezannesque landscapes from the 1920s[6] were defined by both a modern and a naive style, portraying the landscape and inhabitants of Israel in a sensitive fashion. His landscape paintings in particular paid special detail to a spiritual, translucent light.

In Palestine, he became one of the founders of the new Eretz-Yisrael style. Recurring themes in his work were the biblical landscape, folklore and people, including Yemenite, Hasidic Jews and Arabs. Many of his paintings are sun-bathed depictions of Jerusalem and the Galilee. Rubin might have been influenced by the work of Henri Rousseau whose style combined with Eastern nuances, as well as with the neo-Byzantine art to which Rubin had been exposed in his native Romania. In accordance with his integrative style, he signed his works with his first name in Hebrew and his surname in Roman letters.

In 1924, he was the first artist to hold a solo exhibition at the Tower of David, in Jerusalem (later exhibited in Tel Aviv at Gymnasia Herzliya). That year he was elected chairman of the Association of Painters and Sculptors of Palestine. From the 1930s onwards, Rubin designed backdrops for Habima Theater, the Ohel Theater and other theaters.

His autobiography, published in 1969, is titled My Life - My Art. He died in Tel Aviv in October 1974, after having bequeathed his home on 14 Bialik Street and a core collection of his paintings to the city of Tel Aviv. The Rubin Museum opened in 1983. The director and curator of the museum is his daughter-in-law, Carmela Rubin.[1] Rubin's paintings are now increasingly sought after. At a Sotheby's auction in New York City in 2007, his work accounted for six of the ten top lots.[1]

Ark of the Covenant

The Ark of the Covenant (Hebrew: אָרוֹן הַבְּרִית‬, Modern Arōn Ha'brēt, Tiberian ʾĀrôn Habbərîṯ), also known as the Ark of the Testimony, is a gold-covered wooden chest with lid cover described in the Book of Exodus as containing the two stone tablets of the Ten Commandments. According to various texts within the Hebrew Bible, it also contained Aaron's rod and a pot of manna.[1] Hebrews 9:4 describes: "The ark of the covenant [was] covered on all sides with gold, in which was a golden jar holding the manna, and Aaron's rod which budded, and the tables of the covenant."

The biblical account relates that, approximately one year after the Israelites' exodus from Egypt, the Ark was created according to the pattern given to Moses by God when the Israelites were encamped at the foot of biblical Mount Sinai. Thereafter, the gold-plated acaciachest was carried by its staves while en route by the Levites approximately 2,000 cubits (approximately 800 meters or 2,600 feet) in advance of the people when on the march or before the Israelite army, the host of fighting men.[2] When carried, the Ark was always hidden under a large veil made of skins and blue cloth, always carefully concealed, even from the eyes of the priests and the Levites who carried it. God was said to have spoken with Moses "from between the two cherubim" on the Ark's cover.[3] When at rest the tabernacle was set up and the holy Ark was placed under the veil of the covering, the staves of it crossing the middle side bars to hold it up off the ground.

According to the Book of Exodus, God instructed Moses on Mount Sinai during his 40-day stay upon the mountain within the thick cloud and darkness where God was[4][5] and he was shown the pattern for the tabernacle and furnishings of the Ark to be made of shittim wood to house the Tablets of Stone. Moses instructed Bezalel and Oholiab to construct the Ark.[6][7] In Deuteronomy, however, the Ark is said to have been built specifically by Moses himself without reference of Bezalel or Oholiab.[8]

Tissot_Moses_and_Joshua_in_the_Tabernacle.jpg

The Book of Exodus gives detailed instructions on how the Ark is to be constructed. It is to be 2½ cubits in length, 1½ in breadth, and 1½ in height (approximately 131×79×79 cm or 52×31×31 in). Then it is to be gilded entirely with gold, and a crown or molding of gold is to be put around it. Four rings of gold are to be attached to its four corners, two on each side—and through these rings staves of shittim-wood overlaid with gold for carrying the Ark are to be inserted; and these are not to be removed.[9] A golden lid, the kapporet (traditionally "mercy seat" in Christian translations) which is covered with 2 golden cherubim, is to be placed above the Ark. Missing from the account are instructions concerning the thickness of the mercy seat and details about the cherubim other than that the cover be beaten out the ends of the Ark and that they form the space where God will appear. The Ark is finally to be placed under the veil of the covering.

The biblical account continues that, after its creation by Moses, the Ark was carried by the Israelites during their 40 years of wandering in the desert. Whenever the Israelites camped, the Ark was placed in a separate room in a sacred tent, called the Tabernacle.

When the Israelites, led by Joshua toward the Promised Land, arrived at the banks of the Jordan river, the Ark was carried in the lead preceding the people and was the signal for their advance.[10][11] During the crossing, the river grew dry as soon as the feet of the priests carrying the Ark touched its waters, and remained so until the priests—with the Ark—left the river after the people had passed over.[12][13][14][15] As memorials, twelve stones were taken from the Jordan at the place where the priests had stood.[16]

In the Battle of Jericho, the Ark was carried round the city once a day for seven days, preceded by the armed men and seven priests sounding seven trumpets of rams' horns.[17] On the seventh day, the seven priests sounding the seven trumpets of rams' horns before the Ark compassed the city seven times and, with a great shout, Jericho's wall fell down flat and the people took the city.[18] After the defeat at Ai, Joshua lamented before the Ark.[19] When Joshua read the Law to the people between Mount Gerizim and Mount Ebal, they stood on each side of the Ark. We next hear of the Ark in Bethel where it was being cared for by the priest Phineas the grandson of Aaron (where 'Bethel' is translated 'the House of God' in the King James Version).[20] According to this verse it was consulted by the people of Israel when they were planning to attack the Benjaminites at the battle of Gibeah. Later, however, the Ark was kept at Shiloh, another religious centre some 16 km north of Bethel, at the time of the prophet Samuel's apprenticeship,[21] where it was cared for by Hophni and Phinehas, two sons of Eli.[22]

At the beginning of his reign over the United Monarchy, King David removed the Ark from Kirjath-jearim amid great rejoicing. On the way to Zion, Uzzah, one of the drivers of the cart that carried the Ark, put out his hand to steady the Ark, and was struck dead by God for touching it. The place was subsequently named "Perez-Uzzah", literally "Outburst Against Uzzah",[33] as a result. David, in fear, carried the Ark aside into the house of Obed-edom the Gittite, instead of carrying it on to Zion, and there it stayed three months.[34][35]

On hearing that God had blessed Obed-edom because of the presence of the Ark in his house, David had the Ark brought to Zion by the Levites, while he himself, "girded with a linen ephod ... danced before the Lord with all his might" and in the sight of all the public gathered in Jerusalem - a performance that caused him to be scornfully rebuked by his first wife, Saul's daughter Michal.[36][37][38] In Zion, David put the Ark in the tabernacle he had prepared for it, offered sacrifices, distributed food, and blessed the people and his own household.[39][40][41]

The Levites were appointed to minister before the Ark.[42] David's plan of building a temple for the Ark was stopped at the advice of God.[43][44][45][46]The Ark was with the army during the siege of Rabbah;[47] and when David fled from Jerusalem at the time of Absalom's conspiracy, the Ark was carried along with him until he ordered Zadok the priest to return it to Jerusalem.[48]

The Ark carried into the Temple from the early 15th century Très Riches Heures du Duc de Berry

When Abiathar was dismissed from the priesthood by King Solomon for having taken part in Adonijah's conspiracyagainst David, his life was spared because he had formerly borne the Ark.[49] Solomon worshipped before the Ark after his dream in which God promised him wisdom.[50]

During the construction of Solomon's Temple, a special inner room, named Kodesh Hakodashim (Eng. Holy of Holies), was prepared to receive and house the Ark;[51] and when the Temple was dedicated, the Ark—containing the original tablets of the Ten Commandments—was placed therein.[52] When the priests emerged from the holy place after placing the Ark there, the Temple was filled with a cloud, "for the glory of the Lord had filled the house of the Lord".[53][54][55]

When Solomon married Pharaoh's daughter, he caused her to dwell in a house outside Zion, as Zion was consecrated because of its containing the Ark.[56] King Josiah also had the Ark returned to the Temple,[57] from which it appears to have been removed by one of his predecessors (cf. 2 Chron. 33-34 and 2 Kings 21-23).

Yom HaAliyah (Aliyah Day) (Hebrew: יום העלייה‎) is an Israeli national holiday celebrated annually on the tenth of the Hebrew month of Nisan to commemorate the Israelites crossing the Jordan River into the Land of Israel while carrying the Ark of the Covenant.

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