1 Chronicles 2:20

2:20 The Lord chose Bezalel, a craftsman descended from Hezron, to construct the Tabernacle (see Exod 31:1-2).

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Verse 20. Uri begat Bezaleel] This was probably the famous artist mentioned Ex 31:2, &c., where see the notes.

Adam Clarke's Commentary on the Bible (1810–1826) — public domain. Text from a community e-Sword/MySword module.

(20) Hur begat Uri . . . Bezaleel.—See Exo_31:2, which states that: “ Bezaleel, son of Uri, son of Hur, of the tribe of Judah,” was divinely qualified for building the Tent of Meeting. Bezaleel is no doubt a person, but Hur is probably a Calebite clan, established at “Ephrath, which is Beth-lehem” (Gen_35:19).

A Bible Commentary for English Readers, edited by Charles John Ellicott (1878–1897) — public domain. Text from a community e-Sword module.

Jerahmeel had also another wife, whose name was Atarah,.... Distinct from his wife before named; or "another woman", which is a phrase for an harlot or concubine, Jdg 11:2 which she might be, as Kimchi observes; though the former seems best:

she was the mother of Onam; and perhaps was the only son she bore to Jerahmeel, of whose sons see Ch1 2:28.

John Gill's Exposition of the Whole Bible (1746–1763) — public domain (CC PDM 1.0). Text via the HelloAO Bible API.

Bezeleel, the famous artist, (Exodus xxxi. 2.; Calmet) or a different person. (Du Hamel) --- The Rabbins, who confound Caleb with the son of Jephone, say that he espoused Ephrata, or Mary, the sister of Moses, when he was ten years old, that Ur and Uri had each a child at eight, and the Bezeleel began to work at the tabernacle before he was nine years old. (Lyranus) --- But this is extravagant, and the Bezeleel here mentioned was of the family of Hesron. (Calmet)

George Leo Haydock (1774–1849), Haydock's Catholic Family Bible and Commentary, 1859 edition — public domain. Excludes Psalms (Douay-Rheims chapter numbering differs from Protestant) and Deuterocanonical books (Catholic canon only).

Artistic gifts finding religious spheres.

For the earlier references to Bezaleel, (see Exo_31:2 Exo_35:30 Exo_36:1, 2 37:1) Explain the precise endowment of this man and his companion, and the assertion of his call by God, who specially "filled him with the Spirit of God, in wisdom, and in understanding, and in knowledge, and in all manner of workmanship." It has been said that "their work was to be only that of handicraftsmen. Everything that they had to do was prescribed in strict and precise detail. There was to be no exercise for their original powers of invention nor for their taste." But this appears to be a needless limitation of their mission, especially as we are told that they were called to "devise cunning works, to work in gold," etc.; and, however minute patterns of artistic work may be, even this worthy carrying out makes demand on artistic faculty and taste. We are rather disposed to give Bezaleel credit for designing much of the ornamentation, and elaborating the details of a general sketch furnished by Moses. It is curious to note that, in a mistaken apprehension of the commandment, (Exo_20:4) the Jews would not cultivate either the arts of painting or sculpture. This may have been a safeguard to them under the temptations of surrounding idolatry, but it seriously limited their culture as a nation, and possibly made their idolatrous love of images and aesthetic worship the more intense when once the barriers were broken down. The Divine call and endowments of Bezaleel are the Divine protest against the neglect of those artistic faculties which are an essential part of man"s composite nature, as God has been pleased to create it. These faculties have their own place, their right place; and it is at the peril of an imperfect and one-sided culture that we, on the one hand, neglect them, and, on the other hand, push them into an exaggerated place.

I THE MISSION OF THE ARTS IN HUMAN LIFE. Take illustrations from the arts of painting, sculpture, music, and poetry, and show how they bear on the refinement of human life. Each holds out an ideal standard of purity and beauty, and seeking for absolute grace of form materially aids in securing real goodness and purity and truth. Illustrate by the influence of works of art in our homes as aids to the culture of family life. They also bear directly upon the pleasure of human life. For most of us the days must be spent in dull, grinding toil, which wears out the brightness and romance of our spirits. Our real world is bard and depressing. It is of the utmost concern to us that we may pass into an ideal world created by the imagination, and find pleasure in its winsome and joyous scenes. The arts take us into another world, and bring to the earth-toilers the pleasures of a paradise. Evidently true of music and poetry, really true of all.

II THE MISSION OF THE ARTS IN RELIGIOUS LIFE. Strangely in this sphere we still dread their influence. Yet the decorations of even the tabernacle and temple reproach us, and much more David"s elaborate efforts to secure the "beautiful" and the "pleasing" in the temple-worship. Explain that the arts serve in religion the one great end of keeping the ideal and the ideally perfect ever before us, and so they become a perpetual uplifting inspiration, surrounding us ever with the symbols and the suggestions of the Divine and eternal. They are for us the "figures of the true.

III THE NECESSARY LIMITATION OF THE ARTISTIC IN THE HIGHER AND RELIGIOUS SPHERES. The creations of art must never be sought for themselves, or they become virtual idols. They may only be symbols of realities, and handmaids to truths. As a practical conclusion, it may be shown that a man is not responsible for other gifts than those with which he is personally entrusted, but he is bound to be fully loyal to God in the use of those he has. Sooner or later in life, every man who wants to be faithful will discover his faculty and find his sphere. R.T.

The Pulpit Commentary (1880–1919), ed. H.D.M. Spence-Jones & Joseph S. Exell — public domain. Text from a community e-Sword module.

Jerahmeel had also another wife, whose name was Atarah,.... Distinct from his wife before named; or "another woman", which is a phrase for an harlot or concubine, Jdg 11:2 which she might be, as Kimchi observes; though the former seems best:

she was the mother of Onam; and perhaps was the only son she bore to Jerahmeel, of whose sons see Ch1 2:28.

Keil & Delitzsch — Biblical Commentary on the Old Testament (1861–1891) — public domain (CC PDM 1.0). Text via the HelloAO Bible API. (Old Testament only.)

And Hur begot Uri, and Uri begot Bezalel Figure that each of them was less than eight years old when they begot, for Caleb was forty years old during the episode of the spies, as it is written (Jos. 14: 7): “I was forty years old when [Moses, the servant of the Lord] sent, etc.,” and at that time they all were already born, for the Tabernacle that Bezalel made had been erected. Caleb was eight years old when he begot Azuba Ishah, nine years old when he begot Jerioth, and after the death of Azubah, his wife, he took Ephrath, and she bore him Hur in the following year, making him ten years old, and Hur was eight years old when he begot Uri, and Uri was eight years old when he begot Bezalel, thus making 26 years, and it is written (Exod. 36:1): “and every wise hearted man,” and a man is not less than thirteen years old. So Bezalel was thirteen years old when he made the Tabernacle. Thus, we have forty years less one. We find that each one of them was less than eight years old when they begot children, and so it is explained in Chapter “Ben sorer umoreh“ (Sanh. 69a). According to the Midrash, they begot at the age of six.

Rashi on the Tanakh — English translations: “The Judaica Press complete Tanach with Rashi, translated by A. J. Rosenberg” (CC BY 4.0); “Pentateuch with Rashi's commentary by M. Rosenbaum and A.M. Silbermann, 1929-1934” (public domain); “The Metsudah Tanach series, Lakewood, N.J” (CC BY 4.0); and “The Book of Joshua, Metsudah Publications, 1997” (CC BY 4.0). Text via Sefaria.