Threads of Separation: Unraveling the Mysteries of Shesh and Shazar
The terms shesh and shazar hold a unique place in biblical language, rooted in ancient cultural and linguistic traditions. Their usage and meaning reflect a blend of Egyptian influence and Hebrew development, offering insights into the materials and craftsmanship of the Tabernacle.
The word shesh is often associated with both linen and alabaster in biblical texts. Scholars such as Ludwig Köhler and Walter Baumgartner (HALOT), and Nahum Sarna trace its origin to the Egyptian word šs. HALOT notes that šs includes a clothing determinative (a sign that clarifies the meaning of a word), connecting it to dazzling white materials like linen and alabaster. The shared property of brilliant whiteness likely contributed to this dual application. Sarna further emphasizes that shesh in Hebrew, borrowed from šs, denotes cloth of exceptional quality, reinforcing its association with purity and brilliance.
In the biblical context, shesh appears in relation to Egypt and to the wilderness tabernacle and priestly garments. This limited scope highlights its antiquity, aligning it with early Egyptian influence. Much like the word ephod, shesh represents an old term whose use reflects the ongoing cultural significance of its materials.
In contrast to shesh, shazar is an even rarer term, appearing only in the Book of Exodus. It is translated as “twined” or “twisted” and is used to describe the making of items such as the veil, the curtains for the tent of meeting, the ephod, its band and robe, and the breastpiece. This limited and specialized usage underscores its connection to the tabernacle craftsmanship.
While shazar does not appear in related Semitic languages of the era, it may have ties to the Arabic word shazara, meaning “to spin threads together” or “twist.” This interpretation is supported by Medieval and Modern Hebrew usage, as well as by Strong’s Concordance, which defines shazar as a primitive root meaning “to twist (a thread of straw):—twine.” Some scholars, such as Fuerst, also associate shazar with the idea of spinning or twisting. Thus, shazar seems to describe a specific method of interweaving, possibly used to create the renowned Egyptian linen.
Another possible origin for shazar is the Egyptian root ḏsr (pronounced djeser). Depending on grammatical variations, ḏsr conveys meanings such as “set apart,” “be private,” “holy,” or “sacred.” Related forms, like ḏsrw, refer to seclusion, privacy, or a holy place, and ḏsr ḏsrw is used to denote the “Holy of Holies.” If ḏsr is indeed the root of shazar, then both shesh and shazar could derive from Egyptian, with shazar conveying the idea of separation.
This linguistic connection would give new depth to the phrase shesh shazar in the Bible, translating it as “linen being a separator.” The deliberate pairing of these terms may emphasize the linen’s purpose, signifying its role as a material set apart to specifically provide separation.
An intriguing instance of shazar occurs in Exodus 39:24, where it appears without shesh. This verse describes the creation of the lower hems of the robe of the ephod, adorned with pomegranates of blue, purple, and scarlet ma-shazar. If we consider shazar to mean “conditioning,” the verse could suggest that these pomegranates serve as protective elements.
The terms shesh and shazar represent a fascinating blend of linguistic and cultural influences, drawing from Egyptian origins while serving specific roles in the Hebrew Bible. Shesh conveys the brilliance and purity of high-quality linen, while shazar captures the intricate craftsmanship and separating purpose of woven materials. Together, they reflect the deep interplay of material, meaning, and practicality of ancient Hebrew culture.