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On the one hand, the Zohar was lauded by many rabbis because it opposed religious formalism, stimulated one's imagination and emotions, and for many people helped reinvigorate the experience of prayer. In many places, prayer had become merely an external religious exercise, while prayer was supposed to be a means of transcending earthly affairs and placing oneself in union with God. | On the one hand, the Zohar was lauded by many rabbis because it opposed religious formalism, stimulated one's imagination and emotions, and for many people helped reinvigorate the experience of prayer. In many places, prayer had become merely an external religious exercise, while prayer was supposed to be a means of transcending earthly affairs and placing oneself in union with God. | ||
Many classical rabbis, especially Maimonides, viewed belief in [[angel]]s, [[demon]]s, and other spirits as a violation of [[Judaism|Judaic]] principles of faith. Its mystic mode of explaining some commandments was applied by its commentators to all religious observances, and produced a strong tendency to substitute mystic Judaism in the place of traditional rabbinic Judaism. For example, Shabbat, the Jewish | Many classical rabbis, especially Maimonides, viewed belief in [[angel]]s, [[demon]]s, and other spirits as a violation of [[Judaism|Judaic]] principles of faith. Its mystic mode of explaining some commandments was applied by its commentators to all religious observances, and produced a strong tendency to substitute mystic Judaism in the place of traditional rabbinic Judaism. For example, Shabbat, the Jewish [[Sabbat]]h, began to be looked upon as the embodiment of [[Yahweh|God]] in temporal life, and every ceremony performed on that day was considered to have an influence upon the superior world. | ||
Elements of the Zohar crept into the liturgy of the 16th and 17th centuries, and the religious poets not only used the symbolism of the Zohar in their compositions, but even adopted its style. Thus, in the language of some Jewish poets, the beloved one's curls indicate the mysteries of the Deity; sensuous pleasures, and especially intoxication, typify the highest degree of divine love as ecstatic contemplation; while the wine-room represents merely the state through which the human qualities merge or are exalted into those of God. | Elements of the Zohar crept into the liturgy of the 16th and 17th centuries, and the religious poets not only used the symbolism of the Zohar in their compositions, but even adopted its style. Thus, in the language of some Jewish poets, the beloved one's curls indicate the mysteries of the Deity; sensuous pleasures, and especially intoxication, typify the highest degree of divine love as ecstatic contemplation; while the wine-room represents merely the state through which the human qualities merge or are exalted into those of God. | ||
==Influence in | ==Influence in occultism== | ||
The enthusiasm felt for the Zohar was shared by many [[Christianity|Christian]] authors, such as Giovanni Pico della Mirandola and Johann Reuchlin, who believed the book contained proof of the truth of Christianity. They were led to this belief by the analogies existing between some of the teachings of the Zohar and certain Christian dogmas, such as the fall and redemption of man, and the dogma of the Trinity, which seems to be expressed in the Zohar. | The enthusiasm felt for the ''Zohar'' was shared by many [[Christianity|Christian]] authors, such as Giovanni Pico della Mirandola and Johann Reuchlin, who believed the book contained proof of the truth of Christianity. They were led to this belief by the analogies existing between some of the teachings of the ''Zohar'' and certain Christian dogmas, such as the fall and redemption of man, and the dogma of the Trinity, which seems to be expressed in the ''Zohar''. | ||
Johann Reuchlin included significant amounts of material from the Zohar in his own book of ritual magic, ''[[De Arte Cabbalistica]]''. | Johann Reuchlin included significant amounts of material from the ''Zohar'' in his own book of ritual magic, ''[[De Arte Cabbalistica]]''. He later designed the first graphical depiction of the [[Tree of Life]]. | ||
The Zohar's influence over [[occult]] rituals and practices remain significant. Many of the tenants of [[King Solomon|Solomonic magic]], and [[ritual magic]] in general originated with the philosophies found in this book. Nearly every [[grimoire]] from the Medieval Period drew some of its information from the Zohar, and the attempt by European [[magician]]s to syncretize Christian and Jewish mysticism sprang from the principles of the Zohar. | The ''Zohar'''s influence over [[occult]] rituals and practices remain significant. Many of the tenants of [[King Solomon|Solomonic magic]], and [[ritual magic]] in general originated with the philosophies found in this book. Nearly every [[grimoire]] from the Medieval Period drew some of its information from the ''Zohar'', and the attempt by European [[magician]]s to syncretize Christian and Jewish mysticism sprang from the principles of the ''Zohar''. | ||
Concepts such as the 72 [[Kabbalistic angel]]s, the [[Archangels of the Zodiac]], and | Concepts such as the 72 [[Kabbalistic angel]]s, the [[Archangels of the Zodiac]], as well as the ten [[sefirot]] and their opposing [[qlippoth]] first appeared in this book. | ||
==See also== | ==See also== | ||
* ''[[Sefer Raziel HaMalakh]]'' | * ''[[Sefer Raziel HaMalakh]]'' | ||
* ''[[Sefer HaBahir]]'' | * ''[[Sefer HaBahir]]'' | ||
==External link== | |||
* [https://www.zohar.com/ The complete Zohar online] | |||
[[Category:Books]] | [[Category:Books]] | ||
[[Category:Kabbalah]] | [[Category:Kabbalah]] | ||