Ezekiel 9 3

Ezekiel 9:3 kjv

And the glory of the God of Israel was gone up from the cherub, whereupon he was, to the threshold of the house. And he called to the man clothed with linen, which had the writer's inkhorn by his side;

Ezekiel 9:3 nkjv

Now the glory of the God of Israel had gone up from the cherub, where it had been, to the threshold of the temple. And He called to the man clothed with linen, who had the writer's inkhorn at his side;

Ezekiel 9:3 niv

Now the glory of the God of Israel went up from above the cherubim, where it had been, and moved to the threshold of the temple. Then the LORD called to the man clothed in linen who had the writing kit at his side

Ezekiel 9:3 esv

Now the glory of the God of Israel had gone up from the cherub on which it rested to the threshold of the house. And he called to the man clothed in linen, who had the writing case at his waist.

Ezekiel 9:3 nlt

Then the glory of the God of Israel rose up from between the cherubim, where it had rested, and moved to the entrance of the Temple. And the LORD called to the man dressed in linen who was carrying the writer's case.

Ezekiel 9 verses

Ezekiel 9 3 Meaning

Ezekiel 9:3 describes a pivotal moment in Ezekiel's vision, portraying the visible shift of God's manifest presence, the "glory of the God of Israel," from its established position above the cherubim to the threshold of the Temple. This movement signifies God's impending departure from a defiled sanctuary and signals His withdrawal of protection. Concurrently, it records God's command to the linen-clad man, who carried a scribe's writing case, tasking him with a specific mission related to the subsequent judgment. This verse sets the stage for selective judgment, distinguishing between the righteous who mourn over Jerusalem's abominations and those destined for destruction.

Ezekiel 9 3 Context

Ezekiel 9:3 occurs within a sequence of visions (Ezekiel 8-11) given to the prophet during the Babylonian exile (around 592 BCE). This entire segment graphically depicts the profound idolatry practiced within the Jerusalem Temple itself. Chapter 8 details various abominations, including sun worship, secret idol chambers, and weeping for Tammuz. Chapter 9 immediately follows, portraying the commencement of divine judgment upon the city. The six executioners from verse 2, each with a deadly weapon, stand poised. Our verse, 9:3, initiates the execution of God's justice by first describing God's visible shift of presence, highlighting that His departure is not impulsive but a deliberate consequence of Israel's unfaithfulness. The historical context underscores Jerusalem's false sense of security, believing that God would not abandon His temple, thus necessitating this dramatic divine spectacle to justify and explain the coming devastation to the exiles.

Ezekiel 9 3 Word analysis

• glory (כְּבוֹד, k'vod): Derived from the root meaning "heavy" or "weighty." It refers to the visible, tangible manifestation of God's majestic presence, honor, and radiant splendor. Its movement here is profoundly significant, indicating a dynamic and public withdrawal, contrasting with God's earlier glorious indwelling.
• God of Israel (אֱלֹהֵי יִשְׂרָאֵל, Elohei Yisrael): This specific designation emphasizes the covenant relationship between God and His chosen people, implying that this judgment originates from the very God who established and promised to protect them. The judgment is therefore a direct consequence of their covenant breaking.
• had gone up (עָלָה, alah): "Went up," "ascended," or "rose." This verb indicates a specific, upward, and often ceremonial movement. It describes a purposeful ascent from one position to another, symbolizing a deliberate change of location rather than a mere float.
• cherub (הַכְּרוּב, hakk'ruvim - often collective singular, implying the cherubic throne): These are powerful, winged, hybrid creatures described in Genesis 3:24 and in Ezekiel's inaugural vision (Ezek 1, 10) as forming the platform or "chariot" upon which God's glory rests and moves. Their presence signifies divine holiness and guardianship of sacred space. The glory previously rested on this mobile throne (Ezek 8:4).
• on which it rested (אֲשֶׁר הָיָה עָלָיו, asher hayah alav - which was upon him/it): This phrase confirms the established dwelling place of God's glory. Its departure from this consecrated locus signifies the cessation of His divine presence and protection, no longer settling on this chosen vessel.
• to the threshold of the house (אֶל מִפְתַּן הַבַּיִת, el miftaṅ habbayit - "to the threshold of the house"): The threshold is the critical boundary or entrance point of the Temple. This stopping point indicates a staged, visible, and deliberate exit, signaling the imminent and progressive abandonment of the sanctuary. It’s a point of no return.
• he called (וַיִּקְרָא, vayyikra): This Hebrew verb, used with God as the subject, always denotes a sovereign and authoritative command, initiating a new divine action or phase. It highlights God's absolute control over the unfolding events.
• to the man clothed in linen (לָאִישׁ לְבֻשׁ הַבַּדִּים, la'ish levush habaddim): Linen (בַּדִּים, baddim) consistently signifies purity, sanctity, and priestly or angelic status (cf. Lev 16, Dan 10). This individual is not one of the destructive executioners but is associated with a sacred, precise, and distinguishing task.
• writing case (קְסַת הַסּוֹפֵר, q'sat hasofer - inkhorn of the scribe/writer): This is a small container for ink, typically carried by a scribe, indicating an instrument for precise record-keeping and marking. Its presence signifies an act of divine registration and differentiation, not indiscriminate obliteration.

Words-group analysis:

• "the glory of the God of Israel had gone up...to the threshold of the house": This phrase encapsulates a profound theological act—the beginning of God's physical and symbolic withdrawal from His earthly dwelling. It demonstrates God's active decision to vacate a place that has been defiled by His own people, signifying the breakdown of the covenant relationship due to their unfaithfulness. The movement is visible and gradual, offering a clear theological justification for the impending judgment.
• "he called to the man clothed in linen, who had the writing case at his side": This second part of the verse shifts focus to God's subsequent command, introducing a key agent of divine selection amidst the coming destruction. The specialized attire and instrument indicate a divine administrative process of discernment—identifying and marking those who will be preserved. This stands in stark contrast to the six executioners, highlighting the dual nature of God's justice: both righteous judgment and merciful preservation.

Ezekiel 9 3 Bonus section

The progressive departure of God's glory in Ezekiel (first from the cherubim, then the temple threshold, then the city gate, and finally completely from the city – Ezek 10:4, 10:18, 11:23) is a powerful, choreographed theological statement. This is the visual dramatization of the rabbinic concept of the Shekinah withdrawing. Furthermore, the role of the cherubim in facilitating this movement emphasizes their function as agents and bearers of divine holiness, participating in God's will to uphold His own purity. The man in linen with the inkhorn stands as a divine census taker, registering faithfulness in a corrupt world, serving as a powerful Old Testament precursor to the concept of the "seal of God" in Revelation, distinguishing God's people for spiritual preservation amid widespread judgment.

Ezekiel 9 3 Commentary

Ezekiel 9:3 is a stark illustration of God's justice and holiness. The deliberate, visible movement of the Divine Glory signifies more than just a change of location; it underscores God's active disengagement from a Temple utterly defiled by rampant idolatry. This dramatic "moving out" counters the common Israelite misconception that God was bound to Jerusalem, regardless of their actions. The Glory stopping at the "threshold" highlights a poignant, liminal state—God poised to leave, offering a final visual cue before total abandonment. Yet, amidst this judgment, God commissions the "man clothed in linen" with the "writing case." This figure is distinct from the destructive agents, embodying God's meticulous care in discerning and protecting a righteous remnant. This isn't random destruction but a divinely organized, precise separation based on individual spiritual lament, marking those who sorrow over sin for preservation. This scene teaches that God's presence is not guaranteed by physical structures, but by genuine devotion and a heart that mourns over defilement.