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2 Mose 36

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1 Und Bezaleel und Oholiab und alle Männer, die weisen Herzens waren, in welche Jehova Weisheit und Verstand gelegt hatte, damit sie alles Werk der Arbeit des Heiligtums zu machen wüßten, taten nach allem, was Jehova geboten hatte.

2 Und Mose rief Bezaleel und Oholiab und jeden Mann, der weisen Herzens war, in dessen Herz Gott Weisheit gelegt hatte, jeden, den sein Herz trieb, ans Werk zu gehen, um es zu machen.

3 Und sie nahmen von Mose das ganze Hebopfer, das die Kinder Israel gebracht hatten zum Werke der Arbeit des Heiligtums, um es zu machen; und diese brachten ihm noch freiwillige Gaben, Morgen für Morgen.

4 Und es kamen alle weisen Männer, die alles Werk des Heiligtums machten, ein jeder von seinem Werke, das sie machten,

5 und sprachen zu Mose und sagten: Das Volk bringt viel, mehr als genug für die Arbeit des Werkes, das Jehova zu machen geboten hat.

6 Da gebot Mose, und man ließ einen Ruf durchs Lager ergehen also: Weder Mann noch Weib soll ferner ein Werk machen für das Hebopfer des Heiligtums! Und so wurde dem Volke das Bringen gewehrt.

7 Und des Verfertigten war genug für das ganze Werk, um es zu machen; und es war übrig.

8 Und alle, die weisen Herzens waren unter den Arbeitern des Werkes, machten die Wohnung aus zehn Teppichen; von gezwirntem Byssus und blauem und rotem Purpur und Karmesin, mit Cherubim in Kunstweberarbeit machte er sie.

9 Die Länge eines Teppichs war achtundzwanzig Ellen, und vier Ellen die Breite eines Teppichs: ein Maß für alle Teppiche.

10 Und er fügte fünf Teppiche zusammen, einen an den anderen, und er fügte wieder fünf Teppiche zusammen, einen an den anderen.

11 Und er machte Schleifen von blauem Purpur an den Saum des einen Teppichs am Ende, bei der Zusammenfügung; also machte er es an dem Saume des äußersten Teppichs bei der anderen Zusammenfügung.

12 Fünfzig Schleifen machte er an den einen Teppich, und Fünfzig Schleifen machte er an das Ende des Teppichs, der bei der anderen Zusammenfügung war, die Schleifen eine der anderen gegenüber.

13 Und er machte fünfzig Klammern von Gold und fügte die Teppiche zusammen, einen an den anderen, mit den Klammern, so daß die Wohnung ein Ganzes wurde.

14 Und er machte Teppiche von Ziegenhaar zum Zelte über die Wohnung; elf solcher Teppiche machte er.

15 Die Länge eines Teppichs war dreißig Ellen, und vier Ellen die Breite eines Teppichs: ein Maß für die elf Teppiche.

16 Und er fügte zusammen fünf Teppiche besonders und sechs Teppiche besonders.

17 Und er machte fünfzig Schleifen an den Saum des äußersten Teppichs bei der Zusammenfügung, und fünfzig Schleifen machte er an den Saum des Teppichs der anderen Zusammenfügung.

18 Und er machte fünfzig Klammern von Erz, um das Zelt zusammenzufügen, so daß es ein Ganzes wurde.

19 Und er machte für das Zelt eine Decke von rotgefärbten Widderfellen und eine Decke von Dachsfellen oben darüber.

20 Und er machte die Bretter zu der Wohnung von Akazienholz, aufrechtstehend:

21 zehn Ellen die Länge eines Brettes, und eine und eine halbe Elle die Breite eines Brettes;

22 zwei Zapfen an einem Brette, einer dem anderen gegenüber eingefügt: also machte er es an allen Brettern der Wohnung.

23 Und er machte die Bretter zu der Wohnung: zwanzig Bretter an der Seite gegen Mittag, südwärts;

24 und er machte vierzig Füße von Silber unter die zwanzig Bretter: zwei Füße unter ein Brett für seine zwei Zapfen, und wieder zwei Füße unter ein Brett für seine zwei Zapfen;

25 und an der anderen Seite der Wohnung, an der Nordseite, machte er zwanzig Bretter,

26 und ihre vierzig Füße von Silber: zwei Füße unter ein Brett, und wieder zwei Füße unter ein Brett;

27 und an der Hinterseite der Wohnung gegen Westen machte er sechs Bretter;

28 und zwei Bretter machte er für die Winkel der Wohnung an der Hinterseite;

29 und sie waren zweifach von unten auf und waren an ihrem Oberteil völlig aneinander in einem Ringe; also machte er es mit ihnen beiden an den beiden Winkeln.

30 Und es waren acht Bretter, und ihre Füße von Silber: sechzehn Füße, je zwei Füße unter einem Brette.

31 Und er machte Riegel von Akazienholz: fünf zu den Brettern der einen Seite der Wohnung,

32 und fünf Riegel zu den Brettern der anderen Seite der Wohnung, und fünf Riegel zu den Brettern der Wohnung an der Hinterseite gegen Westen;

33 und er machte den mittleren Riegel in der Mitte der Bretter durchlaufend von einem Ende zum anderen.

34 Und er überzog die Bretter mit Gold; und ihre Ringe, die Behälter für die Riegel, machte er von Gold, und überzog die Riegel mit Gold.

35 Und er machte den Vorhang von blauem und rotem Purpur und Karmesin und gezwirntem Byssus; in Kunstweberarbeit machte er ihn, mit Cherubim.

36 Und er machte zu demselben vier Säulen von Akazienholz und überzog sie mit Gold, ihre Haken von Gold, und er goß zu denselben vier Füße von Silber.

37 Und er machte für den Eingang des Zeltes einen Vorhang von blauem und rotem Purpur und Karmesin und gezwirntem Byssus, in Buntwirkerarbeit;

38 und seine fünf Säulen und ihre Haken; und er überzog ihre Köpfe und ihre Bindestäbe mit Gold; und ihre fünf Füße waren von Erz.

   

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Arcana Coelestia # 9915

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9915. 'The work of a weaver' means from the celestial. This is clear from the meaning of 'the work of a weaver' as from the celestial. 'The work' means that which is created or comes into being, thus that which arises from another, while 'a weaver' is the one who causes it to exist or come into being. He accordingly means the celestial, for from this and through this the spiritual derives its being. It has been shown above in 9913, 9914, that the good of the celestial kingdom flows into the good of the spiritual kingdom, giving it its being. But whether you say the good of the celestial kingdom or the celestial, it amounts to the same thing; for the celestial is the good of that kingdom. And the same applies to the good of the spiritual kingdom and the spiritual. What the good of the celestial kingdom or the celestial is, and what the good of the spiritual kingdom or the spiritual is, see the places referred to in 9277.

[2] In the heavens there are three realities that follow one another in order - the celestial, the spiritual, and the natural. The celestial composes the inmost heaven, the spiritual the middle heaven, and the natural emanating from the spiritual the lowest heaven. The same three are present in the human being, and in him they follow one another in the same order as they do in the heavens; for a person who has been regenerated is heaven in the smallest form this can take, corresponding to the largest, 9279. But the mental powers that receive those three are called will, understanding, and factual knowledge from which springs the power of thought or imagination that the external or natural man possesses. The will is the recipient of the celestial, or good, and the understanding is the recipient of the spiritual, or truth from that good; and factual knowledge, which composes the level of understanding in the natural man, embodies the first two within itself. These three are meant in the Word by 'an embroiderer', 'a designer', and 'a weaver'. 'An embroiderer' or embroidery means factual knowledge, see, 9688, and 'a designer' or designing means the power of understanding, 9598, 9688, so that 'a weaver' means the power of will. The reason why 'a weaver' has this meaning is that the will flows into the understanding and weaves it, to such an extent that the contents of the understanding are weavings produced by the will. For what the will desires it fashions in such a way that it may appear to the sight in the understanding. This sight is thought (cogitatio), which is why 'a designer' (excogitator) means the power of understanding.

[3] Since Aaron's garments represented the spiritual heaven lying adjacent to the celestial kingdom, 9814, and the celestial kingdom corresponds to the human power of will and the spiritual kingdom to the human power of understanding, 9835, the terms 'work of an embroiderer', 'work of a designer', and 'work of a weaver' are used in special reference to those garments. These terms serve to mean the things that spring from factual knowledge, from the understanding, and from the will, or what amounts to the same thing, from the natural, from the spiritual, and from the celestial.

[4] That such things are meant becomes clear to all those who believe that the Word is Divine and that for this reason it contains inwardly descriptions of things which belong to the Lord, to heaven, and to the Church, since these subjects are Divine. Why else would Jehovah Himself declare who should make Aaron's garments and what kind of workmanship should be used? Why would He declare which ones should be the work of an embroiderer, which the work of a designer, and which the work of a weaver? These three are also mentioned specifically in the following words later on in the Book of Exodus,

These He has filled with wisdom of heart to do every work of a workman, and of a designer, and of an embroiderer in violet and in purple and in twice-dyed scarlet, and of a weaver - of those doing every work, of those who compose designs. 1 Exodus 35:35.

'A workman' here means Divine Good that is celestial, which composes the power of will in one who has been regenerated, 9846. His work is mentioned first because [that kind of Good] springs directly from the Divine, and then indirectly from celestial good all things are born and emanate.

Poznámky pod čarou:

1. literally, of those designing designs

  
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Thanks to the Swedenborg Society for the permission to use this translation.

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Arcana Coelestia # 9688

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9688. 'The work of an embroiderer' means things that belong to factual knowledge. This is clear from the meaning of 'the work of an embroiderer', or embroidery, as factual knowledge. A large number of places in the Word speak of that which has been embroidered and of embroidery, and in every case factual knowledge is meant by it. The reason for this goes back to representatives in the next life; there garments embroidered in various ways are seen, and by these garments truths on the level of factual knowledge are meant.

[2] Truths on the level of factual knowledge differ from those on the level of the understanding in the same way as outward things differ from inward ones, or as the natural level with a person differs from the spiritual. Facts serve the understanding as objects from which it may deduce truths; for the power of understanding is the internal or spiritual man's power of sight, and known facts are its objects in the external or natural man. These facts are meant by 'the work of an embroiderer' whereas that power of understanding is meant by 'the work of a designer', 9598, for designing is a function of the understanding, and embroidering a function of the knowledge and skill employed by the understanding. This explains why the objects within the dwelling-place, which were signs meaning inner realities, were the work of a designer, such as the curtains that formed it, verse 1, and the veil between the holy place and the holy of holies, verse 31. But the objects which were signs meaning outer realities were the work of an embroiderer, such as the screen in place of a tent door, and the screen in place of a gate of the court, Exodus 38:18, and also the girdle, Exodus 39:29, 'the girdle' being what is external linking everything internal, 'the court' being the lowest part of heaven, and 'the tent door' the place where there is an exit from the middle heaven into the lowest.

[3] The fact that 'embroidery' and that which has been 'embroidered' mean factual knowledge belonging to the external or natural man is clear from the following places in the Word: In Ezekiel,

Fine linen with embroidery from Egypt was your sail; violet and purple from the islands of Elishah was your covering. Syria was your merchant by reason of the multitude of your handiworks; [they exchanged for your wares] chrysoprase and purple, and embroidered work, and fine linen. The merchants of Sheba [came] with balls of violet and with embroidered work. Ezekiel 27:7, 16, 24.

This refers to Tyre, by which those in possession of cognitions or knowledge of truth and good are meant, and in the abstract sense those cognitions themselves, 1201. 'Fine linen with embroidery' means truth on the level of factual knowledge, for 'fine linen' means truth from a celestial origin, 5319, 9469, and 'embroidery' is factual knowledge. This also is the reason why it says that it came from Egypt - for 'Egypt' means factual knowledge, 1164, 1165, 1186, 1462, 2588, 4749, 4964, 4966, 5700, 5702, 6004, 6015, 6125, 6651, 6679, 6683, 6692, 6750, 7779 (end), 9391 - and also from Syria and from Sheba, since cognitions of truth and good are meant by 'Syria', 1232, 1234, 3051, 3249, 3664, 3680, 4112, and in like manner by 'Sheba', 1171, 3240. Cognitions of truth and good constitute the Church's factual knowledge. Anybody endowed with the ability to think intelligently and weigh things up can see that in these verses from Ezekiel one should not understand embroidery, fine linen, violet, or purple, but that these commodities mean things such as are worthy of mention in the Word, namely spiritual realities that belong to heaven and the Church.

[4] In the same prophet,

All the princes of the sea will step down from upon their thrones, and will cast away their robes and will strip off their embroidered garments. They will clothe themselves with tremblings. Ezekiel 26:16.

This too refers to Tyre. 'The princes of the sea' are the first and foremost known facts, which are called dogmas, 'princes' meaning things which are first and foremost, see 1482, 2089, 5044, and 'the sea' factual knowledge in general 28, 2850. 'Robes' are external truths, 'embroidered' are truths on the level of factual knowledge, which too are external ones. For the meaning of 'garments' as truths, 2576, 4545, 4763, 5248, 5319, 5954, 6914, 6917, 6918, 9093, 9158, 9212, 9216.

[5] In the same prophet,

I clothed you with embroidered cloth, and shod you with badger; I swathed you in fine linen and covered you with silk. Thus were you adorned with gold and silver; and your garments were fine linen, silk, and embroidered cloth. But you took your embroidered garments and covered the images, with which you committed whoredom. 1 Ezekiel 16:10, 13, 18.

This refers to Jerusalem, by which the Church is meant. 'Embroidered garments' stands for truths on the level of factual knowledge. 'Covering the images, with which she committed whoredom' stands for giving strength to falsities, for 'committing whoredom' means perverting truths by bringing them into contact with falsities or with evils. Is there anyone who cannot see that since these verses describe Jerusalem 'fine linen, silk, and embroidered cloth' are not used to mean fine linen, silk, and embroidered cloth? Yet what they really mean the Christian world does not seek to know, because it supposes that heavenly and spiritual matters in the Word reside in its literal sense; the more internal contents of the Word it calls mystical, but has no interest in them.

[6] In the same prophet,

A great eagle with great wings, with long pinions, full of feathers, 2 which had embroidery ... Ezekiel 17:3.

This refers to the house of Israel, which means the spiritual Church; and this Church is called 'an eagle' by virtue of its perception of truth, 3901, 8764, 'which had embroidery' standing for its possession of factual knowledge. In David,

All glorious is the king's daughter within, in her clothing with gold interweavings; in an embroidered [robe] she will be led to the king. Psalms 45:13-14.

'The king's daughter' stands for an affection for truth, 'an embroidered [robe]' for factual knowledge of truth. In the Book of Judges,

Will they not divide the spoil, ... the spoil of colours for Sisera, the spoil of colours of embroidered work, embroiderers' colour - on the necks of the spoil? 3 Judges 5:30.

In this verse, which is part of the Song of Deborah and Barak, 'embroidered [work]' stands for factual knowledge belonging to the natural man.

Poznámky pod čarou:

1. Here verse 18 of Ezekiel 16 has become confused with the preceding verse 17.

2. literally, A great eagle, great with wings, long with pinions, and full with feathers,

3. The meaning in the Hebrew of this verse is very obscure. The Latin rendering by Sebastian Schmidt, which Swedenborg relies on here, is literal and equally difficult to make sense of.

  
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Thanks to the Swedenborg Society for the permission to use this translation.