Ezekiel 23 14

Ezekiel 23:14 kjv

And that she increased her whoredoms: for when she saw men pourtrayed upon the wall, the images of the Chaldeans pourtrayed with vermilion,

Ezekiel 23:14 nkjv

But she increased her harlotry; She looked at men portrayed on the wall, Images of Chaldeans portrayed in vermilion,

Ezekiel 23:14 niv

"But she carried her prostitution still further. She saw men portrayed on a wall, figures of Chaldeans portrayed in red,

Ezekiel 23:14 esv

But she carried her whoring further. She saw men portrayed on the wall, the images of the Chaldeans portrayed in vermilion,

Ezekiel 23:14 nlt

"Then she carried her prostitution even further. She fell in love with pictures that were painted on a wall ? pictures of Babylonian military officers, outfitted in striking red uniforms.

Ezekiel 23 verses

Ezekiel 23 14 Meaning

Ezekiel 23:14 describes Jerusalem's (Oholibah's) intense spiritual unfaithfulness to God, portrayed allegorically as prostitution. It illustrates her depraved attraction to the idols and culture of the Chaldeans (Babylonians). The verse highlights her immediate and passionate lust for depicted figures on a wall, specifically vibrant images of Babylonian men adorned in vermilion, prompting her to actively seek alliance and entanglement with them. This acts as a prophetic condemnation of Judah's syncretistic practices and political entanglements with foreign nations, which fundamentally broke her covenant with Yahweh and led to idolatry.

Ezekiel 23 14 Context

Ezekiel chapter 23 vividly extends the allegory from chapter 16, where Jerusalem (Oholibah) is depicted as a bride turned harlot, mirroring her sister Samaria (Oholah). Both represent the kingdoms of Israel and Judah respectively, who pursued illicit "lovers"—foreign nations and their pagan gods—rather than remaining faithful to Yahweh. Verse 14 specifically zeroes in on Judah's escalating corruption during its Babylonian period. Following the destruction of Samaria (Oholah), Judah (Oholibah) observed her sister's demise but learned nothing, instead intensifying her own spiritual adultery. The historical context reflects Judah's continuous reliance on foreign alliances (like Egypt and later Babylon) instead of trusting God. This verse encapsulates Jerusalem's ultimate fixation on Babylonian culture, political power, and their associated idolatrous practices, even as Babylon became the instrument of God's judgment upon her. It directly addresses the sin of covenant breaking through political and religious syncretism, seen as a deeper, more repulsive act of unfaithfulness than that of her predecessor.

Ezekiel 23 14 Word analysis

• And when she saw (וַתֵּרֶא - wattēre'): Indicates an immediate sensory perception, a key element initiating her downfall. It underscores the visual trigger for her depraved desire, reflecting "lust of the eyes."
• figures of men (תִּמְשִׁילִ֤ת אֲנָשִׁים֙ - timshiymōt ʾǎnāšīm): Refers to depicted images or representations of human forms, likely sculptures, engravings, or paintings. In this context, it alludes to the artwork, deities, and martial prowess of foreign cultures that Judah began to admire and adopt.
• portrayed on the wall (מְחֻקָּקִ֥ים עַל־הַקִּ֖יר - məḥuqqāqîm ʿal-haqqîr): Signifies something intentionally carved, engraved, or etched onto a solid surface, implying permanence, artistry, and a public display, possibly in a temple or palace. This highlights a deliberate, established feature of Babylonian culture, not fleeting graffiti.
• images of the Chaldeans (צַלְמֵ֣י כַשְׂדִּ֔ים - ṣalmê Kaśdîm): Explicitly names the origin. "Tzalmei" are carved or cast images, often associated with idols or cultic figures. The Chaldeans (Babylonians) were renowned for their elaborate art, powerful military, and intricate pagan religion, all deeply attractive to an unfaithful Judah.
• portrayed in vermilion (מְשֻׁחִ֖ים בַּשָּׁשַֽׁר - məšūḥîm baššāšar): "Vermilion" (shašar) is a vibrant, reddish-orange pigment. Its use signifies striking appearance, opulence, and a certain luxurious allure. Such elaborate and colorful depictions would have been costly and prestigious, further amplifying their perceived grandeur and allure for Judah. This specific detail intensifies the description of their enticing quality.
• she lusted after them (וַתַּעְגְּבָ֤ה עֲלֵיהֶם֙ - wattaʿgəḇāh ʿǎlêhem): Uses a strong Hebrew verb (ʿāgaḇ) denoting intense, passionate, often sexual, longing or infatuation. This is a recurring term for spiritual adultery and vividly describes Jerusalem's insatiable, perverse desire for these foreign images and what they represent.
• as soon as she saw them (כִּרְאוֹתָ֣הּ אֹתָ֔ם - kireʾōtāh ʾōtām): Emphasizes immediacy and impulsivity. There was no hesitation, no spiritual discernment; the visual trigger instantly captivated her and ignited a deep, depraved desire. It speaks to her spiritual blindness and utter lack of resistance.
• and sent messengers to them in Chaldea (וַתִּשְׁלַ֥ח צִירִ֛ים בַּכַּשְׂדִּימָֽה - wattīšlaḥ ṣîrîm bakkaśdîmāh): Demonstrates proactive, deliberate action. Her lust was not merely internal but translated into tangible efforts to initiate contact and forge an alliance (both political and religious) with Babylon. This commitment sealed her unfaithfulness.

Words-group analysis:

• "figures of men portrayed on the wall, images of the Chaldeans": This phrase precisely identifies the object of Judah's obsession: foreign, particularly Babylonian, art and idols. It reveals a specific fascination with the aesthetics and power associated with Mesopotamian culture, indicating an intellectual and spiritual surrender to foreign influence.
• "portrayed in vermilion, she lusted after them as soon as she saw them": The descriptive power of "vermilion" coupled with the intense "lusted" and the immediate "as soon as she saw them" paints a picture of instant, overwhelming infatuation driven by visual appeal. It highlights how the allure of the world can immediately capture and enslave a heart not devoted to God, leading to spiritual harlotry.
• "she lusted after them ... and sent messengers to them in Chaldea": This sequence illustrates the progression of sin: from inward desire (lust) to outward, deliberate action. Her spiritual adultery wasn't passive but an active pursuit of the very power that would ultimately consume her, demonstrating profound covenant faithlessness.

Ezekiel 23 14 Bonus section

The explicit mention of "Chaldeans" is highly significant, given that Babylon (capital of Chaldea) was the nation God had chosen to execute judgment upon Judah. This verse reveals Judah's spiritual and political foolishness, passionately pursuing an alliance and emulating the very culture destined to be her conqueror and devastator. This dynamic underscores a deeper theological truth: when God's people abandon Him, they often fall prey to the very powers that promise them security or pleasure. The imagery used by Ezekiel is intentionally strong and visceral, designed to shock his exilic audience into recognizing the true ugliness and horror of their sin in God's eyes, drawing a clear parallel between sexual depravity and spiritual idolatry.

Ezekiel 23 14 Commentary

Ezekiel 23:14 delivers a potent, almost graphic, indictment of Jerusalem's profound spiritual infidelity. It isn't just a political misstep or a casual flirtation with foreign gods; it's depicted as a deeply passionate and perverted lust for the captivating images of Babylonian culture. The vibrant "vermilion" highlights the visual seduction, suggesting that Judah was drawn in by the external glamour, power, and perceived sophistication of Chaldea, much like a person being seduced by external appearances. Her immediate and intense "lust" (ʿāgaḇ) upon seeing these images signifies a spiritual heart so compromised that it lacks any defense against temptation. This inner corruption rapidly manifests in decisive, active pursuit ("sent messengers"), sealing her fate. The verse tragically showcases the human tendency to replace the true and living God with captivating but lifeless images of human design and earthly power, inevitably leading to judgment.