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Izlazak 26

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1 "Prebivalište načini od deset zavjesa: od ljubičastog, crvenog i tamnocrvenog prediva i prepredenog lana. Na njima neka budu vezeni likovi kerubina - djelo umjetnika.

2 Dužina svake zavjese neka je dvadeset i osam lakata, neka joj je širina četiri lakta. Sve zavjese neka su iste mjere.

3 Pet zavjesa neka su sastavljene jedna s drugom, a drugih pet zavjesa opet jedna s drugom.

4 Napravi petlje od ljubičaste vune pri rubu krajnje zavjese u sastavljenom komadu.

5 Napravi pedeset petlji na rubu jednoga sastavljenog komada od zavjesa, a pedeset pri rubu drugoga. Neka su petlje načinjene jedna spram druge.

6 Onda napravi pedeset kopča od zlata. Zavjese zatim kopčama sastavi jednu s drugom. Tako će Prebivalište biti jedna cjelina.

7 Načini zatim zavjese od kostrijeti za Šator povrh Prebivališta. Načini ih jedanaest.

8 Neka duljina svake zavjese bude trideset lakata, a širina svake zavjese četiri lakta. Tih jedanaest zavjesa neka bude iste mjere.

9 Sastavi pet zavjesa napose, a onda opet drugih šest zavjesa napose. Šestu zavjesu podvostruči na pročelju Šatora.

10 Ušij pedeset petlji na rubu jednoga sastavljenog komada od zavjesa, a pedeset na rubu drugoga.

11 Izradi pedeset kopča od tuča, zapni kopče za petlje da sastaviš Šator u cjelinu.

12 A kako će zavjese od Šatora pretjecati, neka se polovina zavjesa što preostane spušta na zadnjem dijelu Prebivališta.

13 Od onoga što preteče na dužini šatorskih zavjesa neka po jedan lakat visi na obje strane svetoga Šatora da ga zaklanja.

14 Napokon napravi Šatoru pokrov od učinjenih i u crveno obojenih ovnujskih koža, a povrh njega pokrov od finih koža.

15 Trenice što će nauzgor stajati za Prebivalište napravi od bagremova drva.

16 Svaka trenica neka bude deset lakata duga, a lakat i pol široka.

17 Svaka trenica neka ima dva klina da je uspravno drže. Tako napravi na svakoj trenici za Prebivalište.

18 Trenice za Prebivalište postavi: dvadeset trenica s juga, prema podnevu;

19 onda pod dvadeset trenica napravi četrdeset podnožja od srebra, dva podnožja pod prvu trenicu za njezina dva klina, i tako redom, dva podnožja za dva klina svake slijedeće trenice.

20 Za drugu stranu Prebivališta, sa sjevera: dvadeset trenica

21 i četrdeset srebrnih podnožja, dva podnožja za dva klina prve trenice, i tako redom, dva podnožja za svaku trenicu.

22 Na stražnjoj strani Prebivališta, sa zapada, postavi šest trenica.

23 Napravi i dvije trenice za stražnje uglove Prebivališta.

24 Neka budu rastavljene pri dnu, ali na vrhu kod prvoga koluta neka budu sastavljene. Neka tako obadvije prave dva ugla.

25 Neka dakle bude osam trenica s njihovim srebrnim podnožjima: šesnaest podnožja, dva podnožja pod prvom trenicom, a dva opet podnožja pod svakom slijedećom trenicom.

26 Nadalje napravi priječnice od bagremova drva: pet njih za trenice s jedne strane Prebivališta,

27 a pet priječnica s druge strane Prebivališta; onda pet priječnica za trenice Prebivališta straga prema zapadu.

28 Srednja priječnica neka ide sredinom trenica s jednoga kraja na drugi.

29 Trenice obloži zlatom, a i kolutove za njih, kroz koje će se priječnice provlačiti, načini od zlata. Priječnice onda obloži zlatom.

30 Tako, dakle, podigni Prebivalište prema nacrtu koji ti je pokazan na brdu."

31 "Napravi zavjesu od ljubičastog, crvenog i tamnocrvenog prediva i prepredenog lana. Neka su na njoj izvezeni kerubini.

32 Objesi je na četiri stupa od bagremova drva, zlatom obložena, s kopčama od zlata, a na četiri podnožja od srebra.

33 Objesi zavjesu za kvake. Onda unesi Kovčeg svjedočanstva tu za zavjesu. Neka ti tako zavjesa odjeljuje Svetište od Svetišta nad svetištima.

34 Stavi Pomirilište na Kovčeg svjedočanstva u Svetinji nad svetinjama.

35 Postavi zatim stol van pred zavjesu, a svijećnjak na južnu stranu Prebivališta, prema stolu. stol stavi na sjevernu stranu.

36 A na ulazu u Šator napravi zastorak od ljubičastog, crvenog i tamnocrvenog prediva i prepredenog lana - vezom izvezen.

37 Za zastorak isteši pet stupčića od bagrenova drva pa ih obloži zlatom. Kopče za njih neka budu od zlata. Salij za njih pet podnožja od tuča."

   

Ze Swedenborgových děl

 

Apocalypse Revealed # 450

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450. Having breastplates that were fiery, hyacinthine and sulfurous. This symbolizes their fanciful and illusory arguments springing from a hellish love and their own intelligence, and from the attendant lusts.

Breastplates symbolize the arguments people use to do battle for faith alone (no. 436). Fire symbolizes heavenly love, and in an opposite sense, hellish love (nos. 452, 468, 494). Hyacinthine symbolizes intelligence springing from a spiritual love, and in an opposite sense, intelligence springing from a hellish love, which is one's own inherent intelligence, as explained below. And sulfur symbolizes lust arising from that hellish love and expressed through their own inherent intelligence (no. 452). It follows from this that breastplates fiery, hyacinthine and sulfurous have the symbolic meaning stated.

[2] The reason their arguments in defense of faith alone are thus described is that all those people who believe themselves to be justified by faith alone, which is to say, absolved from sins, never give any thought to repentance, and an impenitent person engages in nothing but sins. All sins, moreover, spring from and so draw their character from a hellish love, from one's own inherent intelligence, and from the attendant lusts; and people caught up in them not only act on them, but they also speak, indeed think and will, in conformity with them, and accordingly reason and argue in conformity with them. These are who they are because they are their life; but who they are is a devil, and their life a hellish one.

In actual fact, however, people who live a moral life solely for the sake of themselves and the world do not know this. The reason is that although they inwardly are such as described, in outward appearances they are like people who live a Christian life. But they should know that when anyone of them dies, he comes into his interior life, because it is the life of his spirit, and he is his internal self. Moreover, his inner character then accommodates his outward one to itself, and they become alike. Consequently the moral virtues of these people's life in the world then become like the scales of fish that are scraped away.

The case is altogether different with people who regard the precepts of a moral life as Divine, and who make them at the same time civil precepts because they are expressive of a love for the neighbor.

[3] Hyacinthine symbolizes intelligence springing from the affection of a spiritual love because this color takes its hue from the redness of fire and the whiteness of light; and fire symbolizes love, and light intelligence. This intelligence is symbolically meant by the hyacinthine blue in the coverings and veils of the tabernacle (Exodus 26:31, 36; 27:16), and in Aaron's ephod (Exodus 28:6, 15); by the cloth of hyacinthine blue placed on the ark, table, lampstand, and altar [in the tabernacle] when the people prepared to journey (Numbers 4:6-7, 9, 11-12); and by the blue stuff in Ezekiel 27:7, 24.

On other hand, intelligence springing from the affection of a hellish love is symbolically meant by hyacinthine in Ezekiel 23:

Oholah (or Samaria) played the harlot... and she doted on her lovers, the neighboring Assyrians, clothed in hyacinthine blue..., horsemen riding on horses. (Ezekiel 23:4-6)

Thus is described a church which by the reasonings of its own inherent intelligence had falsified the Word's truths.

And in Jeremiah:

They are altogether foolish and grow stupid; the teaching of vanities is wood. Beaten silver... is brought from Tarshish..., the work of the craftsman and the hands of the metalsmith; hyacinthine blue and purple are their clothing, all the work of skillful men. (Jeremiah 10:8-9)

The work of the craftsman and the hands of the metalsmith, and all the work of skillful men, symbolize here that they spring from their own inherent intelligence.

  
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Many thanks to the General Church of the New Jerusalem, and to Rev. N.B. Rogers, translator, for the permission to use this translation.