In the heart of Rehovot, Israel, a city where the echoes of the past blend seamlessly with the rhythm of the present, I found myself standing at the threshold of a new world. As a young scholar hailing from the golden land of Myanmar, I found myself in a land steeped in history and tradition. One day, as I was walking through the labyrinthine corridors of my new workplace, a small box affixed to the right side of the lab entrance caught my eye. It never occurred to me that there was a culture, such as a box nailed to the right side of the entranceway of the door. I learned about it, and I know it was a Mezuzah, a small parchment scroll enclosed in a decorative case. The word ‘Mezuzah’ literally means ‘doorpost’ in Hebrew. It also spelled as Mezuza, is a significant artifact in Jewish tradition. It is a parchment that carries inscriptions of two important scriptures from the book of Deuteronomy (6:4-9 and 11:13-21), known as the ‘Shema’ and ‘Vayaha’ in Hebrew, which can be translated into ‘to hear and obey’. These inscriptions serve as a handwritten testament to the obligations that Jews have towards God. This tradition can be traced back to the Jewish year 2448 (1312 B.C.E.) when it was given as a commandment at Sinai. The commandments within the verse instructed the Jews to “inscribe them upon the doorposts of your home and upon your gates” (Deuteronomy 6:9). Till the present days, this ‘doorpost’ or ‘mezuzah’ is affixed to the main doorpost of a Jewish home after a particular blessing is recited. The Mezuzah is not typically seen hanging openly because it is kept within a protective case. This case is designed in such a way that a specific part of the parchment is visible. This visible portion contains the word ‘Shaddai’, which translates to ‘Almighty’. How does it create? It is said that the process of creating a Mezuzah is intricate and complex. It is crucial to ensure that the parchment of the Mezuzah scroll is genuine, made from the skin of a kosher animal, and that the Hebrew verse from the Torah is inscribed by a sofer (a trained calligrapher) using a special pen and ink. A single error or crack can render the parchment invalid. The process of creating Mezuzah began with the preparation of the parchment. Carefully selecting the skin of a kosher animal, the parchment was prepared explicitly for use as a sacred object. This was the canvas on which the scriptures from the book of Deuteronomy, the Shema and Vayaha, would be inscribed. Once the scriptures were written, they would be checked thoroughly to ensure they were free from errors. “Tradition does not mean to look after the ash, but to keep the flame alive.” — Jean Jaures On the reverse side of the scroll, the scribe would write one of God’s names: Shaddai. The three letters of this name formed an acronym for the Hebrew words that mean “Guardian of the doorways of Israel”. Once the scriptures were written and checked, the scroll would be carefully rolled up and placed in a protective case. The case was often decorated with the Hebrew letter ‘shin’, which is the first letter of ‘Shaddai’. The final step was to affix the Mezuzah to the right side of the doorpost of a Jewish home.A specific blessing would be recited as the Mezuzah was hung on the top third of the doorway, slanting it so that the top of the Mezuzah faced inwards towards the room. Why is it hanging on the door? Intrigued, I turned to a friend from the lab, a native Israeli, who explained the significance of the Mezuzah. She told me that it was more than just a piece of parchment; it was a symbol of faith, a beacon of luck, and a constant reminder of God’s presence. It was a testament to the Jewish people’s enduring faith, which had weathered countless storms yet remained unshaken. Likewise, many believe that a properly hung Mezuzah offers protection to the home and its inhabitants. Such is the power of the Mezuzah that even non-Jews have been known to use them, claiming that the scrolls bring them good fortune. As I began to see Mezuzahs almost everywhere, on homes, offices, and even shops, I realized that they were not just objects of curiosity. They were symbols of a deep, abiding faith that I had come to respect. Each Mezuzah was unique, a silent guardian, a tangible connection to God, a constant reminder of the divine presence in everyday life. It was a tradition that had been passed down through generations, a thread that connected the past, present, and future. Each day brought new insights. I learned about the meticulous process of creating a Mezuzah, the sacredness of the words inscribed on it, the significance of its placement on the doorpost. I learned about the people who held this tradition close to their hearts, their unwavering faith, their resilience in the face of adversity. As I delved deeper into the world of the Mezuzah, I found myself changed. I was no longer just a visitor in a foreign land; I was a part of the tapestry that was Israel. I carried the lessons of the Mezuzah with me, the understanding of a faith that was as resilient as it was profound. I found a piece of myself in the heart of Israel, within the scroll of a Mezuzah. I discovered a tradition that was not confined to a particular country or people, but was a unique aspect of humanity itself. I uncovered a tale of faith, resilience, and hope that transcended borders and cultures, a tale that would stay with me forever. This journey of discovery, of understanding the significance of the Mezuzah, has been an enlightening experience. It has taught me that faith is not just about belief, but about finding meaning in the traditions and rituals that define us.
Interpreting ‘This Rock’ in Jesus’ Church Building Statement (Matthew 16:18)
Caesarea Philippi, located at the base of Mount Hermon, 25 miles north of the Sea of Galilee in the Golan Heights, was a significant city in the first century AD. The city was a center of pagan worship, dedicated to the Greek god Pan, depicted as a half-man, half-goat playing the flute. It was also the site of a temple built by Herod the Great, dedicated to Caesar Augustus. After Herod’s death, the city came under the jurisdiction of his son, Philip, who renamed it Caesarea Philippi in honor of the Roman emperor. The archaeological excavation of the site, which began in 1967, revealed the remains of numerous altars, temples, and a cave dedicated to Pan. Additionally, sacred niches with statues of various deities, including Hermes and Echo, were found high on the cliffs. “God is sovereign over Satan. The devil has no free hand in this world. He is on a leash, and can do only what God permits” — John Piper The city’s location at the base of a cliff and its association with pagan worship led to it being referred to as the ‘gates of hell’ in the Bible. It is also the site where Jesus took his disciples to reveal his identity as the Messiah, the Son of God. The city’s historical and religious importance makes it a key site for understanding the cultural and religious context of the first century AD.In today’s Caesarea Philippi, visitors can glimpse the ancient worship practices that once flourished in this historic city, which gives an insight into its religious nature. Hades or Sheol The term ‘hell’ is often used to describe Caesarea Philippi, a place associated with the realm of the dead who did not believe. This term originates from the Greek word ‘Hades’ or its Hebrew equivalent, ‘Sheol’. Both these terms represent the underworld, a realm that is believed to be the final resting place for all departed souls (Job 17:16). In the biblical context, Bashan is depicted as a formidable region. It was ruled by the powerful kings Sihon and Og and was known for its stories of ancient giant clans such as the Rephaim and the Anakim (Deut 2:10-12). Canaanite records suggest that two main cities in the region of Bashan, Ashtaroth and Edrei were considered gateways to the underworld (Deut 3:1). This implies a connection between these cities and the concept of ‘Hades’ or ‘Sheol,’ further linking them to the intimidating region of Bashan and its tales of ancient giants.Thus, the narrative weaves together the concepts of ‘hell,’ the underworld, the region of Bashan, and Caesarea Philippi, creating a tapestry of interconnected ideas and beliefs. So, when the disciples stood in Caesarea Philippi, they found themselves face-to-face with the chilling legacy of Bashan, a realm that was both sinister and supernatural. Mount Hermon, on the other hand, a towering entity, holds a significant place in Jewish tradition. It is believed to be the site where divine sons of God descended and mingled with mortal women, leading to the corruption of humankind (Gen 6:1-4). This unholy union resulted in the birth of the Nephilim, who are considered the forebears of the demonic Rephaim and Anakim (Num 13:30-33). The existence of a theological connection between these giants and demons contributes an additional layer of unease to the spiritual atmosphere of the region. This unsettling aura is further amplified by Caesarea Philippi’s dedication to Zeus, a pagan deity, which infuses the area with an eerie ambiance. Adding to this mysterious energy is a religious center, constructed near the ancient one in Dan. The presence of this center underscores the location’s deep-rooted history as a meeting point of ancient beliefs and spiritual forces. Thus, it becomes clear that this location, steeped in history and mythology, serves as a nexus for various spiritual beliefs and forces. The evident Reflecting on the historical context and narrative, it becomes evident that the biblical account in Matthew 16, where Jesus makes the profound proclamation, “upon this rock, I will build my church,” holds a pivotal moment. Here, the ‘rock’ does not seem a reference to Peter or Jesus himself, but rather to the very ground they stood upon. This interpretation gains depth and significance when viewed against the backdrop of its rich history and story. The imagery of the gates of hell not prevailing against the Church suggests a proactive stance against evil. It’s as if Jesus is declaring war on the forces of darkness. This moment underscores the Church’s resolve to stand firm against evil, fortified by the strength and faith embodied in Jesus’ words. Thus, the narrative weaves together the physical location and its spiritual implications, creating a rich tapestry of interconnected ideas and beliefs. Hence, by travelling there what I feel was that Jesus’ strategic declaration at this enigmatic location symbolizes a defiance against the forces of darkness, an affirmation that the Church will triumph over the gates of hell. In declaring war on evil, Jesus chose to establish his Church, a beacon of salvation, at the very threshold of the underworld often referred to as Hell or Hades. The symbolic act of handing the key to heaven precisely at the gates of death underscores the transformative power of belief and the promise of eternal life. FAQs 1. What is the historical significance of Caesarea Philippi? Caesarea Philippi was a major city in the first century AD, known for its pagan worship and association with the Greek god Pan. It was also a site of a temple dedicated to Caesar Augustus. The city’s significance in biblical history stems from its mention as the “gates of Hell” in Matthew 16:18, where Jesus declared his intention to build his Church. 2. Why is Caesarea Philippi referred to as the ‘gates of Hell’? The term ‘gates of Hell’ is used to describe Caesarea Philippi due to its association with the underworld and pagan worship practices. The city was linked with Hades (the Greek underworld) and was believed to be a gateway to
Na Dah Ciang Kaplel In!
Hih ‘Na Dah Ciang Kap Lel In’ cih thului pen ‘A Hizolo Omlo’ laibu sung panin a kila ahi hi. Hi bangin thalakna thului tuamtuam a lunglutte a dingin ‘Thapiakna Thului-20’ sungah zong mi lawhcing tampite’ phutkhak thute tung tawnin thalak theih nading thului-20 kiguang hi. April kha sung, Monday ni khat, khuapha sitset in-nitaang silsial hi. Tua nitaang silsial nuai ah ka it mahmah kapi te nih tawh nuamtak in ka holim khawm uh-hi.A zingteh, Tuesday ni; upmawh-hetloh pi-in ka it mahmah kapi khat in hong sihsan vat mawk! Bangmah kam ki vaikhak na ommanlo pi-in hong nusia vat ahih manin ka khasiat dan kigen zolo hi. A zingteh, Tuesday ni; upmawh-hetloh pi-in ka it mahmah kapi khat in hong sihsan vat mawk! Bangmah kam ki vaikhak na ommanlo pi-in hong nusia vat ahih manin ka khasiat dan kigen zolo hi. Ni dangin ahihleh khatvei teitei teh dahna leh sihna hongtung ding cihthu ka ngaihsun thei zelzel hi. A hi zongin tuabang thute thakhat in hongtung vat dingin a ngaihsun thei vetlo kahi hi. Kap nuam mahmah ingh… Dah mahmah ingh… Ahih-hang’ ka khitui malkhat mah ataak-khiat ding ka lungsim in khensat zolo hi. Ka nute ka pate leh ka sia te in: “Pasal ihcih pen khasia pahpah lo-in, akap mawkmawk lo te ahi hi…” Ci-in thu hong hilhna te uh ka phawk kik-kik hi. Ka mit-tui luangin kakah khiat khak ding laulua kahih manin adah vetlo bangin ka om veva deep hi. Kap lo ding, kap ngiatlo ding!!! Ci-in ka lungsim tawng pan tha ka lala hi. A sawtlo in Hanmual-lam zotna dingin hun ki bawl diaidiai ta hi. Ka dahna, ka khasiatna te’ hangin aluang ding kamit-tui kadaal daal thapaih na hangin ka gim-mahmah ta hi. Khuapih tuipih te leh khuaveng meltheih te hongtung litlit in, kapi’ kiangah kap ngeungeu uh-hi. Amau te’ kah kamuh teh, ka kahsuak semsem napi, kap ngiatlo ding cih ka khensat tinten hi. Mi tua zah lak-ah pasal pipi kap lawmlawm hong ki cih ding ka ut hetkei hi. Pasal kahih manin a kap hetlo kahih lam a maute ka theisak nuam mahmah hi. Ka Uu, kapi’ kiang naihtak in tu khinkhian aa, akiang uah kapi a kipuak khiat nading kibawl lingling hi. Tua te ka muhteh ka lungsim tamzan didek hi. Ka pi ka it mahmah hiven! Aman’ zongh kei hongit mahmah, keitawh ki gamla in a-om ding nangawn alungnuam ngeilo, hong mitsuan ngaungau ka pi hi aa, tu’n sihna in hong khenkham hita.Cih thuteng a banban in ka ngaihsunsun hi. Tua ka ngaihsut thute lah sigaal hongpai te in hong theihpih hetlo uh!!! A nunung pen vaikhakna nei dingin meltheih tengin kapi’ lupna lam zuan diamdiam uh-hi. Ken’ zongh amau nung zui-in, ka pi kiang ka naih a, a nuntaakna-a-om nawnlo ka pi’ maitang ka muh teh leitung ah kadah penpen hun hongtung taktak hizen maw, cih kaphawk hi. Kei adingin ka pi kamuh tawpna hita!!! A sawtlo in daainawl ah kivui-in, a tawntung in a kimu ngei nawnlo ding himai! Cih ka ngaihsut-teh ka lungtang nalua, ka cihna ding meltheilo in kasan bialbual hi. Ka pi’ luang-gei ah ka innkuan un kam vaikhak dingin ka pai uh-hi. Kum (15) kiim phapan kahih manin, ka pi ka neh ngam vat kei hi. Ahi zongin ka nu in kalu pan hongpom in ka pi’ kianglam hoihtak in hong naihsak hi. Ka nu’ khut kiptak in kaleen aa, kakah khakloh nading kaki-ip tentan hi. Ka pi’ mai-ah ka khukdin petpet uh teh ka khitui a luangkhia lodeuh lian bekmah ahi hi. Ka nu in ka pi’ khut hong leensak in ka pi kam vaikhak na nei hi. Misi te’ khut lenngei nailo kahih manin kalau giauguau hi. Ahih hang’ ka pi ka itna hangin kalau na hongveng hi. Ka pi akhut avot didek simloh kei hong khoih ngeina mah banglian lai hi. Ka nu ka nunghei leh kah cihtak in nakap ngekngek hi. Ka nu’ kah ka muhteh, ka pi ka it baanah kanu mahmah zongh hehpih-huaisa kahih manin kakah hongsuak mahmah hi. Ka nu hehpih lua kahih manin, tutna khat ah ka paipih hi. Veng leh pampan meltheih te khat khit khat in a dahna thu-uh honggen lingling uh hi. Kei zongh amau’ hong hehpih na leh ka pi a itna hangun ka lungdam na in, kamai a tai zawhna ding hanciam in kazum nuih hiuhuau pong hi. Banghang hiam cihleh, pasal ihcih pen, alungsim khauh, a kap dingin a kilawm hetlo hiven!!! Tua nitaak sung tawntung, ka lungsim ka hihtheih zahin ka khauhsak hi. Ka mit-tui luang ding hong kithawi teh cilvalh liangin kadaal vanvan hi. Pasal pipi kap buanglo ee!! Kap zenzen lengh mi thupi lo, mi meidawi pi hiding hivengh!! Ci-in kei leh kei ka lungsim ka khauhsak thapaai hi. A zingteh, ka nu in zingsangtung in hongphong hi. Maan (limlang) mai ah ka ki en aa, kahloh ding mah ka khensat zo saam hi. A dah mahmah ka nu tha apia ding kei hi-ingh aa!!! Biakinn ka tun’ uhteh misi puakna Mawtaw vom sungpan ka pi’ luanghawm hong ki lakhia in, biakinn pi sungah ki lutpih liailiai hi. Ko innkuan ahih leh ka pi’ luang-gei ahi, a mai penpen ah katu uh-hi. Hun kipat ma in ka sang-gam ka nu ka pa te ahih uh leh alungsim uh ip zolo in kap ngeingai mai uh-hi. Kei kahih leh kap ngiatlo ding, cih khensat in ka om tentan hi. Bang hang hiam cihleh pasal cih pen kap mawkmawk lo ding, lungsim khauh vailo lua… Thuhilh (sermon) pa hong dingto in, ka pi a damlai thute; ka pi mi thupi ahihna zia leh midik mihoih ahihna zia te abanban in hong gen toto hi. Tua tak teh kahloh phamawh in apiang ding daan himai ta hi. Thuhilh sia pa in a thugen te hongzom to in:- “Ih pi pen alungsim hoih, migi, itna nei-in, atu ata te akhual ngaungau khat ahi hi. A innsung leh abeh aphung sungah itna-anei mahmah khat hi aa, hehpihna-anei tawntung nupi khat zongh
Nu le Pa Thumang, A Nahlawh Peek
“Paita o leh boih… Na lampi kihong tahen o…” Sumzong dingin a kithawikhia, kumsawm (10) val deuh bek apha pan, Abd-el-Kader, a nu in, sum tang dangkasan (40)a piak khitciang, a kamvaikhakna ahi hi. “Thumaanlo peuhmah semlo ding nai maw! Zuauthu genlo ding, ahoihlo in gamta limlim lo ding, na theina? Koi dih sin aw, hiah ka mai ah hong kiciam limlim dih ve, cikmah hunin zuauthu gen ngeikei ning, cidih…” A nu’ sawl bangin, a tapa anu’ mai ah a kiciam khitciang, a nu in, “Na ma kihong hen. Cidamin ki mukik ni maw?” Tangvalneu pa-a lawmte pawlkhat tawh sumzong dingin a kuankhia ta uh ahi hi. Nithum nilii dingkhawng a paikhiat khit uhciang, lametlohpi-in migilote tawh kitalsik mawk uh hi. Migilote in, hi tangvalneu teng a banban in thusit ngekngek uh hi. “Sum zong ding hikei ung. Sum neikei ung. Hong hehpih un,” ci-in kitan semsem uh ahih manin migilote in khah deudeu uh hi. Ahi zongin a nunung pen ah a kisit Kader tawh kisai ah hong buaihuai sim pian hi. “Sum bangzah pua nahia?” Kader in; “Ka bombi-ipsung ah sum (40) om hi.” Ci-in dawngkik pah lian mawk hi. Migilote nui ngeingai kawmsa in; “Kalasa! Uphuai kei vial mahsi! Sum hau zawzeen sicia?” Ci-in nulhnau ngeingai uh hi. Kader aki thusit sawt sim pian ahih manin, a lawmte lau in a taimang tawh, a bumang tawh, a mah bek om velval laibek hi. Tualeh migilote’ lak ah khat in hong naih phei-in, dongh phakik leuleu hi. “Sum bangzah pua nahia? Na neih zah a maan takin gen sin aw!” Kader in zongh, a cihngei bangh mah in, sum (40) bek nei-ingh, a dang nei vetkeng, ci teitei hi. Migilote in umlo uh ahih manin, a makaaipa uh sam uh hi. A makai pipa in; “Hiah hong paidih sin! Sum bangzah taktak pua nahia? A maantaktak nong gen keileh, hong kaplum ding kahi uh maw” Ci-in, thau khat leh tem khat pei vatvat kawmsa in dongh leuleu hi. Kader zongh lau mahmah ta ahih manin, ling kekeuh bek aa, a-aw kisat kekeuh kawmsa in; “Hia na nautaang nih te’ kiangah zongh ka genkhin hi. Ka bombi-ip sungah ka nu in hong guansak dangka san tang 40 bek om hi.” Ci teitei hi. “Heih… tua ahih leh a puanteng suahkhiatsak vo!” Ci-in, migilote bopa in a lawmte sam lualua hi. A lawmte zongh hongpai-in, Daker’ silh le teen teng suah khiatsak didek in, a sit didek vua leh, a ip sungah, sum tang 40 mulian takpi uh hi. “Ha… bang hangin na puakzah lian takpi mah gen lawmlawm mawk nahia, mihai?” Ci-in, migilote in, hai sa mahmah uh hi. “Hibang tawh hau hak si ni cia, mi dangte hileh apuak zah uh sung pan alang ii lang zong gen lo in seel mang uh hiven!” ci-in nulhnau in nuihsan ziahziah uh hi. Tua leh Daker in; “Himah hi…ka nu’ kiangah zuauthu gen lo dingin, kiciam khin ka hih hang hi.” A cihtak ciang, migilo makaipipa in Kader naih phei vat hi. Kader zong lau mahmah aa, aci ling kekeuh bek hi. Ahi zongin, Kader lau nabanglo bilbel hi. Migilobopa in “Aw… himawk maw… nangh na nu’ thu hizah aa a mang hizen maw!! Kei zongh nang bangin ka nu’ thumangin, thumaan thutak nuntaakpih hilengh, hi bangin siat gamtat lo kha mah ding hiveng maw!!” Ci-in, “Naktakpi takin kisik ingh!!” ci khiankhian hi. Tua acih kawmkawmin a khitui tak kekeuh kawmsa in “Kisik ingh, hi kaki sak laitak ahi hetlo kahih lam na gamtatna tawh nong lakkhiat manin lungdam mahmah ingh.” Tua tangvalpa’ sum khempeuh vekin pia kik hi. Migilo makaipipa in a nautangte a vekpi un samin, tangvalpa’ mai ah mawhmaina nget pih hi. Hi thu pen, a zaknop huai dingin a kiphuak tawm maimai thuleeng khatpeuh ahi ding tawh a kibang hi. Ahi zongin tua bangin a kiphuaktawm thuleeng maimai nahi peuh mah lo hi. Hi tangvalpa, anu’ kam vaikhak bang mah in atuntun na-ah citak in, thumaan thutak nuntaakpih ngiat hi. Hunkhat ciang, Frence te’ ukna sung pan Algeria gam a kaikhia zo pa suak mawkmawk hi. Algeriate’ tangthu sungah tuni dongin mangngei nawnlo aa, kum zalom 19 sung aa’ Algeria gam makai teng khempeuh lak ah a minthang pen khatin kiciamteh khinta hi. Amah pen 1808 kumin suakin 1883 kumin asi ahi hi. Ahi zongin, anu’ thu amanna huhau bekbekin, mi lawhcing mahmah khat suak khinta ahih manin tuni dong amin amang nawnlo ahi hi. Hih Article pen ‘Thapiakna Thului-20’ sung pan hi aa, Zomi Daily website ah zong kisuaksak ahih manin tua mun pan na sim nop leh himun na mek in.