“You also, son of man, you take a tile, and lay it before you, and portray on it a city, even Jerusalem, and lay siege against it, and build forts against it. Set camps also against it, and plant battering rams against it round about. And you take to yourself an iron pan, and set it as a wall between you and the city. And set your face towards it and it shall be besieged, and you shall lay siege against it. This shall be a sign to the house of Israel.'
The attention of the people having been drawn to Ezekiel by his previous strange behaviour, he would no doubt by this time have become a talking point. This strange activity continued. Word would soon get around of the next strange thing that he was doing, and it would arouse curiosity and perhaps a kind of fear. For, at Gods' command, he was to depict a siege of Jerusalem in miniature as a sign to the house of Israel of what was to be. We must assume either that he did this outside the door of his house, or that the house was now left open for people to enter and see it.
‘Take -- a tile.' This would probably be a rectangular sun-baked brick. On this he was to depict a picture of Jerusalem which he would depict in recognisable outline. It would be placed where all could come and see it. He would then depict the details of a siege as outlined, how we are not told. Possibly they were depicted in the sand, or, if inside the house, with clay models or depicted on small clay tablets. Ezekiel and the people would be familiar with such siege activities. They had themselves seen them in action when they themselves had been made captive.
Depictions of such war machines, manned by archers and often moveable, are known from bas-reliefs in Assyria, while mounds would be built bringing the assailants more on a level with the enemy in the city. The depiction of such activities on clay tablets is also witnessed archaeologically.
Then he was to take a large iron pot or cooking plate, possibly as used for baking bread, and set it between himself and the scene he had depicted, illustrating that he himself as God's representative, was also laying siege against it. This would leave them in no doubt that the siege was, in the last analysis, due to the activity of God. The iron plate, in contrast with the clay, would illustrate the solidity and permanence of what it represented. It represented the certainty of God in action with the result that the consequences were also certain.
Others have seen the iron plate as signifying that there was a great barrier between God and His people in Jerusalem so that He would not intervene. He would act through Ezekiel on behalf of His people in exile, but not on behalf of Jerusalem. We can compare Isaiah 59:2, ‘your iniquities have separated between you and your God, and your sins have hid His face from you, that He will not hear'. Compare also Lamentations 3:44.
It was an acted out prophecy, of a kind with which their past was familiar (Exodus 9:8-12; Joshua 8:18; 1 Kings 11:30-32; 1 Kings 22:11; 2 Kings 13:15-19; Isaiah 8:1-4; Isaiah 20:2-4; Jeremiah 13:1-11; Jeremiah 16:1-9; Jeremiah 19:1-11; Jeremiah 27:1-12). The physical reproduction would be looked on as making more certain its fulfilment. It would be seen as having already taken place in miniature. And as the people flocked to see this latest sensation they would be aware of the silent, brooding figure, sitting there without saying a word, and they would draw their own conclusions, fearful and awestricken.
The Long Periods of Iniquity That Have Brought Inevitable Judgment on Jerusalem and the Temple.