Fish and Hebrew Amulets

A while back I chanced upon this lovely Shadai amulet for sale on the internet. Its shape reminded me of the importance of fish in Hebrew amulets. As an aside, the Hebrew term (Argaman), spelled by the five platelets dangling below the fish ornament, is an acronym constructed from the initials of the names of the angels (Auriel [Ori’el]), (Rafa’el), (Gavri’el), (Micha’el) and (Nuri’el).

The symbol of the fish dates back to the whole of the ancient Far and Near East, not forgetting ancient Greece, the Roman empire, ancient Europe, Scandinavia, etc. It certainly predates Christianity by many centuries. Regarding its employment in identifying Christians, the popularity of the fish is witnessed today in its prominent display on businesses, vehicles, websites, etc., most of which belong to Christians of the fundamentalist type. On questioning its display on a keyring, the owner informed me that since it is the sign of the Christian Saviour, the keys can never be lost or stolen. In this regard, I can only imagine how many Christians are employing their “Jesus Fish” for other than symbolic purposes.

Be that as it may, the symbol of the fish is popularly acknowledged in Jewish circles as “a symbol of both good luck and fertility" [Dennis, G.W.: The Encyclopedia of Jewish Myth, Magic and Mysticism, Llewellyn Publications, Woodbury 2007]. The Talmud (Bavli Berachot 20) tells us the “Evil Eye” has no effect on fish, hence the popularity of this symbol in amulets against the “Evil Eye.” In this regard images of fish at one time featured quite prominently at the entrances of private residences, e.g. those of the Jews in Djerba, North Africa. On the other hand, we are told that the fish is a symbol of immortality, and that “the Jewish motif of the Feast of Leviathan might reflect the actual practice, in various religious traditions, of a fish dinner as a foretaste of immortality,” hence its appearance on graves and ancient synagogues [Wineman, A.: Mystic Tales from the Zohar, The Jewish Publication Society of America, 1997].

Amongst the North African Jewish folk customs, an early 20th century traveller named Nahum Slouschz made reference to “a whole series of beliefs which have sprung from the cult of the fish, a cult the traces of whose ancient predominance may be found scattered across the whole Mediterranean. Thus, the Jewish fortune-tellers practise divination with fish. At Tunis, even at Tangiers, there are certain kinds of fish which it is forbidden to eat, on account of their use in divination. It is not in good taste to use the word ‘hut’ (fish), its use is replaced by the phrase Mta el hara or el bahra (beings of the sea)” [Slouschz, N.: Travels in North Africa, The Jewish Publication Society of America, Philadelphia 1927].

Interestingly enough, I have investigated an amulet in which fish scales feature rather prominently. This amulet is said to be good for everything. In this instance the following eighteen tri-letter combinations should be written on one side of the skin of a fish with its scales still intact, i.e. one tri-letter combination per scale:



Afterwards, the following word square is written on the opposite side of the same skin:

The letter combinations in the magic square comprise an arrangement of a phrase derived from 1 Samuel 1:17. It reads:

Transliteration:

YHVH Elohei Yisra’el yiten et she’altech asher sha’alt ki mei’imo

Translation:

YHVH God of Isra’el grant thy petition that thou hast asked of Him.

In this instance the Ineffable Name was added as a prefix to the biblical phrase, and there have been some minor adjustments in the component words in alignment with the basic intention of the Kamea in question, which is plainly the granting of an earnest request. However, there is no instruction on what to do with the fish skin afterwards. I surmise one might place it in a little bag to be carried on ones person.

Metatron, Divine Names & Mezuzot

A while back we discussed an item termed the “Universal Shiviti Amulet,” a poster size talismanic construct comprised of verses from the biblical "Book of Psalms," sets of Divine as well as Angelic Names, and Chotamot (Magical Seals). In expounding its pattern and contents in "The Book of Sacred Names," I addressed in great detail the set of magical and meditational practices associated with it. As indicated previously, amongst the many details comprising this "Shiviti Kame'a" is the following striking image in its very centre:

In an earlier essay we noted that it is comprised of the six letters of the Name Taftafyah positioned in the corner triangles of the hexagram. As mentioned in a previous essay on this blog, Taftafyah is considered amongst the most potent Sacred Names, certainly one which, in combination with the “Shield of David” (hexagram), was amongst the most popular protective magical charms of the mediaeval world. In fact, the two interlaced triangles of the hexagram comprise the symbol of Metatron, the holy intermediary between heaven and earth, and the Name Taftafyah is traditionally associated with the biblical King David, who is said to have had this Divine Name engraved on his golden shield, hence one of the uses of the “Universal Shiviti Amulet” pertains to being saved from belligerent people and circumstances by invoking the “Minister of Protection,” Taftafyah, whilst visualising the “Shield of David” (Hexagram) with the six letters of the Divine Name displayed on it. Similarly, Moses Zacutto informs us in his "Shorshei ha-Shemot" that one can dispel anxiety and fear by tracing the Name on the central “Shield of David” (Hexagram) of the “Universal Shiviti Amulet” with the six letters of the Divine Name displayed on it, whilst simultaneously intoning “Taftafyah.”

Be that as it may, it is the powerful Divine Name Shadai in its very centre which I wish to address here. As it is, this remarkable Divine Name is a most ancient Divine Name indeed. There has been a lot of debate and speculation as to what the word really signifies. It is generally accepted that it means “Almighty,” however some scholars conjectured that the Name was derived from Shadu, the ancient Akkadian word meaning “mountain.” Thus the “Almighty” would be seen to be strong, fortified, immutable, and it is quite true that many deities in ancient Mesopotamia were associated with mountain-tops, which is why the Sumerians constructed Ziggurats (Holy Mountains) as places of worship.

Others tried to prove that Shadai derives from the root “shadad” (meaning “to plunder” and “to devastate”) which would make Shadai a “destroyer” rather than a “protector.” This is a highly unlikely derivation, as the usual purpose for invoking this Name is always for protection, i.e. against demons and magic. The authors of the “Jewish Encyclopedia” thought that the Name could possibly have meant “‘overmastering’ or ‘overpowering strength,’ and that this meaning persists in the divine name.”

As said however, the “power of protection” came to be associated with this name, and many written Kame’ot, providing protection against demonic spirits, the “evil eye,” imprisonment, the sword, etc., often start with: “In the name of Shadai, who created heaven and earth.....” There were even hand positions developed in ancient times to reflect this name, e.g. the arrangement of the fingers in the shape used during priestly blessings as shown below:

The shape of each hand is meant to indicate the letter (Shin), the initial of the Name (Shadai), thus invoking the power and protection of the Almighty. Another of these hand shapes is the famous “Fig” sign of the clenched fist with the thumb inserted between the two forefingers, believed to drive away demons. The ordinary folk used to bend the hands and fingers of their deceased family and friends into this sign, which irked the Rabbis no end. These insisted that their flocks should abandon such heathen customs and straighten the hands of the departed prior to their burial. To the outraged horror of the clergy, the people went a step further and modified the “heathen practice” into shaping and bending the fingers so as to portray the name Shadai.

Of course, one cannot mention “Hebrew amulets” and the Name Shadai without reference to the famous Mezuzot (singular Mezuzah) affixed to the doors of Jewish homes, and which Joshua Trachtenberg maintains “retained its original significance as an amulet despite rabbinic efforts to make it an exclusively religious symbol.” He continued stating that in “the Middle Ages it is question whether its anti-demonic virtue did not far outweigh its religious value in the public mind.” He quotes Rabbi Meir of Regensburg’s remark that: “If Jews knew how serviceable the mezuzah is, they would not lightly disregard it. They may be assured that no demon can have power over a house upon which the mezuzah is properly affixed. In our house I believe we have close to twenty-four mezuzot.”

The potency of the Mezuzah was believed to extend beyond the protection against demons, as it was also guarding against untimely death. The Zohar splitting the name Mezuzah into zaz mavet (“death departs”) was understood to be a clear reference to the death defying power of Mezuzot. However, having these attached to your doors in ancient days, certainly did not protect you against the suspicions of gentile neighbours, as Trachtenberg reports: “According to Rashi, pagan rulers long ago suspected Jews of working magic against them when they affixed the little capsules to their doors.” But then he also says that “some Christian prelates in the Middle Ages were eager to place their castles, too, under the protection of the humble Mezuzah.”

There are very strict rules as to the material, time and place of manufacture of a Mezuzah, but I certainly do not intend to turn this commentary on the magical uses of sacred writ, into a discourse on how to construct Mezuzot. However, one of the striking features of these tiny objects is a little hole or a little window on the front of the container, through which one can observe the Divine Name Shadai or the Hebrew letter Shin (which represents the name). Thus, to this day the Divine Name invoking protection is placed on the doors of every Jewish home who takes the practice seriously, and the power of Shadai is being invoked every moment of the day somewhere in the world.....even as you are reading this.

However, from the Middle Ages onwards it appears that this Name was debased to rather lowly purposes, as were many other Divine Names. Folk obsessed with “buried treasure” and hunting everywhere for the hidden hoard, were using divining-rods in their search, and constructed various magical formulas in which the “spirit guardians” of the treasures were exhorted “In the name of El Shadai, the rock of ages.....” to “Leave the silver and gold there.....” etc. I have very little to say about this Name of Power being reduced to such vulgar indulgences serving man’s greed.

A much greater consideration of the power and importance of this Divine Name, is the understanding that its force is expressed in the Archangel Metatron. As it is, the gematria of the letters in both the words (Shadai) and (Metatron) equate. Abraham Abulafia wrote in his Chayei ha-Olam ha-Bah (Life of the Future World), “Thus, ‘our way is his strength’ (Dark-enu Koch-o = 314). Likewise, ‘our strength is his way’ (Koch-enu Dark-o = 314).” This is of course the value of Metatron and Shadai. Abulafia continues: “Behold God’s name Shadai. This is Metatron. He is the ‘Prince of Names’ (Sar HaShemot), who speaks the ‘authority of the Name’ [Reshut HaShem].” Note that the Hebrew terms Sar HaShemot and Reshut HaShem contain the same letters. So the understanding that the power of Shadai is within Metatron, would also mean that every time one invokes this Divine Name for protection, etc., one automatically also calls upon the “Angel of the Divine Presence.”

Kabbalistic Curiosities: Moon Mansions and Seven Seals - Part 1

Since this topic is quite extensive and needs to be addressed in detail, I thought it prudent to address the kabbalistic views on the twenty-eight "Lunar Mansions," and associated concepts in installments. Readers who are familiar with Hebrew will find a lot of details regarding the "Lunar Mansions," or more accurately "Lunar Times" ( [Ittot]—"times" ), in the "Commentary on the Sefer Yetzirah" attributed to the Raavad. There are facsimiles of both the 1562 and 1806 editions available in electronic format, which you can access directly at:

http://www.hebrewbooks.org/11726 http://www.hebrewbooks.org/39079

Further details can also be found in the Tikunnei Zohar section 69, 101b - 102a.

The twenty-eight "Lunar Mansions" pertain to the twenty-eight days of the lunar month, or more precisely of the "sidereal month." This topic was of particularly importance in Chinese, Japanese and Hindu astrology, and the "Lunar Mansions" featured equally strongly in Islamic Astrology. We should acknowledge the contribution medieval moslem astrologers like Abu'l-Rayhan Muhammad ibn Ahmad Al-Biruni ("The Book of Instruction in the Elements of the Art of Astrology") made to the study of the twenty-eight "mansions" of the moon, and how greatly "Lunar Astrology" impacted on the Jewish mystics who resided in Moslem lands in the Middle Ages, like for example those who lived in medieval Yemen, where the twenty-eight "mansions" played an important role as "markers" in Yemenite agriculture customs.

Whilst this aspect of Lunar astrology was derived from ancient oriental sources, it was given a unique treatment in Kabbalistic traditions, involving special verses from the Hebrew Bible, the seven "double letters" of the Hebrew alphabet aligned with "seven Sefirot," "seven seals," as well as the "seven planets" of traditional astrology. These are in turn associated with a set of Divine Names, and finally the entire caboodle was worked into a harmonious whole with the twelve signs of the Zodiac, etc. Most importantly, the Kabbalistic approach to this topic pertains to the Shechinah, the "Female" aspect of Divinity, or the "Divine Presence" in manifestation, specifically to "Her" being associated with "time." In this regard, the Zohar (1:198a) informs us that (Et - "time") is "a supernal rung." It continues by asking "And who is this Et?" to which we are told that it is the letter (Heh), and then, by adding the letter Heh as a suffix to Et, further elucidates that "it is called (Atah)," a term meaning "Now." Daniel Matt explained that the reason for "time" being "a supernal rung" is that the Shechinah "is known as 'time' since She conducts the world according to a cosmic schedule, enabling phenomenon to unfold in its proper time," and further that "She is also symbolized by the letter (Heh), the final letter of the divine name (YHVH)." (Zohar Vol. 3, Pritzker Edition)

Since the Shechinah is traditionally associated with both "Time" and the "Moon," we can understand why the twenty-eight "Lunar Mansions" are collectively considered to be, as it were, an expression of the "Divine Presence" in manifestation. Furthermore, these twenty-eight Lunar Ittot (times) are associated with the twenty-eight "qualities of time" listed in Ecclestiastes 3:1-8 reading:

"To every thing there is a season, and a time to every purpose under the heaven: A time to be born, and a time to die; A time to plant, and a time to pluck up that which is planted; A time to kill, and a time to heal; A time to break down, and a time to build up; A time to weep, and a time to laugh; A time to mourn, and a time to dance; A time to cast away stones, and a time to gather stones together; A time to embrace, and a time to refrain from embracing; A time to seek, and a time to lose; A time to keep, and a time to cast away; A time to rend, and a time to sew; A time to to keep silence, and a time to speak; A time to love, and a time to hate; A time for war, and a time for peace."

Note there are fourteen benevolent "times" and fourteen malevolent ones. Kabbalistically speaking these are considered to pertain to the "good" and "bad" time cycles of the twenty-eight "Lunar Mansions," fourteen from the aspect of Chesed (Mercy or Benevolence) and fourteen from the aspect of Din or Pachad (respectively "judgment" and "fear," also Gevurah). As an aside, it is worth perusing the exposition of Et Tovah ("good time" also Et Ratzon ("time of favour") and Et Ra ("bad" or "evil" time) in "Gates of Light" (Sha'arei Orah) by Joseph Gikatilla [see page 103–104 in the Avi Weinstein translation].

Now, the fourteen positive and fourteen negative aspects listed in these verses were arranged in a particular manner in Kabbalah to coincide with the seven "double letters" of the Hebrew alphabet, as well as with the seven attributes or qualities associated with these letters. According to all the manuscripts of the "Saadia" and "Long" versions of the Sefer Yetzirah I have consulted, which is quite different from the much later and currently very popular "Gra version," the seven "attributes" are associated with the "double letters" in the following manner:

Aryeh Kaplan maintained the order in which Kabbalists associated these attributes with the mentioned twenty-eight "times" in Ecclesiastes 3, to be "somewhat different than that of the Scripture." ("Sefer Yetzirah: The Book of Creation in Theory and Practice") He also mentioned that it does not correspond to the order found in the Sefer Yetzirah. Accordingly the order is said to be:

(to be continued)

Shemot: Hebrew Divine Names - Variants of the Ineffable Name - Part 1

I am currently investigating the magical uses of the Divine Name (Matz'patz, Matzapatz, Matzapitza, etc.) which is a transposition of , YHVH, derived from the interchange of Hebrew glyphs using the Atbash cipher. This specific variant of the Ineffable Name is said to mean "God protect."

I am sure most individuals interested in western esotericism will recognise the Name Matz'patz from its appearance in the ever popular "Clavicula Salomonis" (The Key of Solomon). In this text it is employed in a specific adjuration of "demons." However, it should be noted that in the Sefer ha-Zohar the Name is said to pertain to the concept of "mercy." In this regard we read concerning the biblical statement that "God made the two great lights" (Genesis 1:16), that the pair of "lights" were "at first in a single bond, mystery of the name complete as one: YHVH Elohim," and that the term "great" indicates that "they were enhanced in name, both alike, to be called by the mystery of all: Matz'patz Matz'patz, supernal names of the thirteen qualities of compassion," furthermore, that "they are supernal, from the mystery on high, ascending for the benefit of the world, so that through them worlds endure." (Zohar 1:20a)

The "thirteen qualities of compassion" are based on Exodus 34:6-7 reading "And YHVH passed by before him, and proclaimed: 'YHVH YHVH, El merciful and gracious, long-suffering, and abundant in goodness and truth; keeping mercy unto the thousandth generation, forgiving iniquity and transgression and sin," etc. Daniel Matt, translator of the excellent Pritzker edition of the Zohar, commented that in Kabbalah the "thirteen qualities of compassion" are said to "originate in Keter, the highest sefirah, the realm of total compassion, untainted by judgment." It has also been indicated that it is in this respect, i.e. divine Mercy, that the name Matz'patz is employed in Hebrew magical incantations and Kame'ot (amulets).

Now, whilst is, as indicated earlier, a variant of the Ineffable Name, there is a close association between this Name and Elohim, the latter having been earlier noted in the "YHVH Elohim" combination, titled "the Complete Name" since it represents the union of the divine qualities of "Compassion/Mercy" and "Justice/Severity." We are told the connection between Matz'patz and the Name Elohim is indicated by the Gematria (numerical value) of this variation of the Ineffable Name being the same as that of the full spelling of the five letters comprising the Name Elohim, as shown below: There are exactly thirteen letters in this expanded spelling of the Name Elohim, which Chaim Vital informed us pertain to the mentioned "thirteen qualities of compassion." To align oneself with these qualities, he maintained in his "Sha'ar Ru'ach ha-Kodesh" (Gate of the Holy Spirit) that you must constantly work the following simple Yichud. You commence by visualising and contemplating the listed thirteen letters comprising the expanded spelling of the Name Elohim, and conclude by contemplating this Name to pertain to the sphere of Malchut, the Kingdom on the sefirotic Tree, and that it includes the thirteen qualities of Divine Compassion.

There are also other ways in which the Name Matz'patz is employed for more magical purposes, amongst which is a most interesting procedure listed in a text titled "Refu'ah v'Chayim m'Yerushalayim" by Eliahu Avraham Mizrachi, which is employed to ascertain whether individuals suffering from a serious malady will survive or succumb to the illness. You commence the practice by getting everyone in the residence of the diseased to keep quiet, and then ready yourself for the procedure. Next, place your right foot on the doorstep of the entrance to the residence of the sorely afflicted individual, and say the following with Kavvanah, i.e. full focus and conviction:

Transliteration: Matzapitza ha-chayim sh’todi’eini im katuv l’chayim (.....fill in the name of the afflicted person.....) o lo

Translation: Matzapitza of life inform me if (.....fill in the name of the afflicted person.....) is inscribed for life or not.

In conclusion you have to recite the Names which are derived from Psalm 139:16 reading:

Transliteration: Golmi ra’u einecha v’al sifr’cha kulam yikateivu yamim yutzaru v’lo echad bahem

Translation: Thine eyes did see mine unformed substance, and in Thy book they were all written—even the days that were fashioned, when as yet there was none of them.

Note that you do not need to pronounce the actual said verse but only the Divine Names derived therefrom, of which we are informed the correct ones to be:

Transliteration: Gvayir vavka’u l’atein milavul ysva rafya’ei ur’micha v’chayad eichumeiba y’lay’he neimeitzam

We will address more of the "magical" uses of Matz'patz in the second part.

Kabbalistic Curiosities: Wheel of Lights

The title of this post refers to a well-known image from Sefer Emek ha-Melech (The Book of the Valley of the King) by Naftali Bacharach (published in Amsterdam in 1648). The illustration depicts a “Wheel of Lights” comprised of the ten Sefirot. Before we analyse this remarkable illustration, we should look at the life of its equally remarkable originator, whose work comprises particularly detailed descriptions of Lurianic Kabbalah gleaned from the writings of Chaim Vital and Israel Sarug, perhaps the two greatest disciples of Isaac Luria.

Now, beyond the fact that our author was born in Frankfurt, we don’t have any details about his date of birth or of his death for that matter. We are informed that he studied Kabbalah in Poland for several years, after which — on his return to his home town — he wrote his Emek ha-Melech. This text, based as said on the writings of Chaim Vital and especially on Israel Sarug's Limmudei Atzilut, had an enormous impact on Kabbalists, but it also elicited outrage and widespread condemnation. Chayim ha-Kohen of Aleppo, a pupil of Chaim Vital, objected in the strongest terms to the claim that Bacharach’s work represents the true realisation of the teachings of Isaac Luria. Others complained that Bacharach plagiarised the writings of other authors, including virtually the entire mentioned text of Sarug in his own work, without any acknowledgment of the original authors. One complainant, Moses Chagiz, renamed Emek ha-Melech calling it Emek ha-Bacha (Valley of Tears).

It would seem Bacharach was constantly embroiled in controversy. His claims that he acquired his sources of Lurianic Kabbalah during the period in which he resided in Israel turned out to be false, since it is clear that he never went to Israel at all. He ended up in a rather heated dispute with Joseph Solomon Delmedigo, claiming that when the latter was his pupil (another questionable claim) Delmedigo had appropriated manuscripts belonging to Bacharach, and had then published them in his Ta’alumot Chochmah and Novelot Chochmah. Interestingly enough, the real facts of the matter would proof the opposite, and like in the case of the earlier mentioned authors, it was discovered that it was actually Bacharach who appropriated Delmedigo’s work.

Naphtali Bacharach focussed specifically on demonology and the concept of the “sitra achara” (the “other side” or realm of evil) in his writings, and whilst his exposition of the Lurianic doctrine of tzimtzum (primordial contraction) differs totally from the same expounded by Chaim Vital, his “Book of the Valley of the King” had a vast impact on post-Lurianic Kabbalah, influencing the Gaon Elijah ben Solomon Zalman of Vilna, the Kabbalistic teachings of Chabad Chasidism, and even Shabbatean literature. The famous Moses Chaim Luzzatto was himself influenced by Bacharach’s Emek ha-Melech, and one wonders what went through his mind when Isaiah Bassan complained that the translation into Latin and inclusion of large sections of Bacharach’s text in the Kabbalah Denudata of Knorr von Rosenroth “were among the important causes of prolonging the exile.” Finally Chaim Joseph David Azulai, the great 18th century Kabbalist, informs us “I have heard that no genuine writings got into his (Bacharach’s) hands..... therefore the initiated refrain from reading either it or the Novelot Chochmah.”

Gershom Scholem called Naftali Bacharach “a fanatical Kabbalist” whose enthusiastic interests pertained more to “Practical Kabbalah,” rather than the speculative and philosophical aspects of our great Tradition. Bacharach did not only draw from Lurianic sources, but also from the writings of the early Kabbalists, an important factor which we should keep in mind when it comes to scrutinising his “wheel of lights” illustration, to which we now turn our attention. A translation by Jerome Rothenberg and Harris Lenowitz of the Hebrew inscriptions appeared some decades ago in “A Big Jewish Book.” As this translation is not in the least satisfactory and following the idiosyncratic style of the “artistic” 1970's, this translation can be misleading. I have thus decided to offer a somewhat different version here, simultaneously acknowledging the fact that any translation of the Hebrew text is difficult. Amongst the terms Naftali Bacharach used to describe the different aspects of Light are “Zohar,” “Bahir” and “Nogah.” All could be translated “brilliance” or “brightness,” yet we know very well that each term describes quite a different quality of light, and the term Nogah also refers to the “morning star,” “morning light” and the planet “Venus.”

English simply does not provide the vocabulary to allow for an exact translation of the different grades of light expressed in Hebrew. Hence we end up with the Sefer ha-Zohar and the Sefer ha-Bahir being respectively translated “Book of Splendour” and “Book of Brilliance,” knowing that the term “splendour” is more accurately rendered Hod in Hebrew. Attempting to deal with this problem in the best possible manner, I have selected to follow the model of Aryeh Kaplan who, in his "Meditation and Kabbalah" and taking his cue from the fourth part of Sha'arei Kedusha, translated the different grades of light as follows: Now, let us read, translate and investigate the “Wheel of Lights” illustration: Starting upper left on the outer circle and reading anticlockwise around the circle, it reads:

“And going around (circling) the ten Sefirot of the sphere, and circle the eternity (‘forever,’ also ‘universe’ or ‘world’) of primordial space.”

Commencing in turn with Keter (Crown) positioned upper left at the very end of the first word of the outer circle, the inner spokes, read:

1. Crown (Keter) “Light of (from) Light — Marvelous Light (could also be ‘wondrous,’ ‘miraculous’ and ‘incomprehensible’)

2. Wisdom (Chochmah) “Radiance of Radiance — Concealed Light (also ‘hidden’ and ‘mysterious’)”

3. Understanding (Binah) “Sparkle of Sparkle (also ‘glistening’) — Sparkling Light”

4. Greatness (Gedulah) “Radiance of Radiance — Clear Light”

5. Strength (Gevurah) (also “Might”) “Light of Radiance — of Glistening Light (also ‘flashing’)”

6. Beauty (Tiferet) “Sparkle of Light — Shining Light”

7. Victory (Netzach) “Light of Sparkle — Refined Light”

8. Glory (Hod) (also “Splendour” and “Majesty”) Radiance of Sparkle — Brilliant Light (also “Lucid”)

9. Foundation (Yesod) “Sparkle of Radiance — Clear Light and Glistening”

10. Kingdom (Malchut) “Precious of Precious Glowing Light this is”

In this illustration the primordial tehiru is the centre, whilst the circumference is all manifestation — the expression into existence of the ten Sefirot, the latter itself radiated, as it were, out of the Eternal Nothingness of the primordial centre. The editors of “A Big Jewish Book” comments

“the ‘wheel of light’ is not a fixed or static image (from which the ‘limitless’ could as well be excluded) but an image in motion and tied finally to the mystery of creation as worked through by the 16th-century kabbalist and poet Isaac Luria. Here the limitless that fills all space contracts itself to leave a point or vacuum behind in which the universe originates. The act of withdrawal is called tzimtzum (‘contraction’) and the point is called tehiru, the primordial space. A ray of light moving across this circular space fills it with the ten sefirot, which surround it like a wheel of light. Only a residue of Ein-Sof stays within it - like little drops of oil.”

One should of course remember that these very ideas did not really originate with Isaac Luria at all, but are plainly expressed in the Sefer ha-Zohar where we read

“At the outset the decision of the King made a tracing in the supernal effulgence, a lamp of scintillation, and there issued within the impenetrable recesses of the mysterious limitless a shapeless nucleus enclosed in a ring, neither white nor black nor red nor green nor any colour at all.....The most mysterious Power enshrouded in the limitless then split, without splitting its void, remaining wholly unknowable until from the force of the strokes there shone forth a supernal and mysterious point. Beyond that point there is no knowable, and therefore it is called Reshit (beginning), the creative utterance which is the starting-point of all.” [Zohar: Genesis 15a].

As mentioned earlier, Naftali Bacharach’s exposition of the Kabbalistic mysteries comprises many sources ranging from the early Kabbalah to the writings of Chaim Vital, those of the latter itself including material drawn from earlier sources. For example, the unpublished fourth section of Vital’s Sha’arei Kedusha (Gates of Holiness) incorporates a text titled Shaar ha-Kavvanah Le-Mekubalim ha-Rishonim (The Gate of Kavvanah of the First Kabbalists). Aryeh Kaplan tells us that it was probably written by Azriel ben Menachem of Gerona (13th century). This text provides a wonderful meditation technique in which the different grades of light are identified and visualised in a very specific manner. A related and equally important 13th century work called Shekel ha-Kodesh (The Holy Coin) was penned by Moses de Leon of Zohar fame, who appears to have been acquainted with the “Gate of Kavvanah.”

Knowing Naftali Bacharach's predilection for the works of early Kabbalists, and since he may very well had access to the Gate of Kavvanah in Chaim Vital's Sha'arei Kedusha, I personally found the study of Bacharach's "wheel of light" in conjunction with the two mentioned early kabbalistic texts to be most informative. Aryeh Kaplan included translations of the "Gate of Kavvanah" and a large portion of "The Holy Coin" in "Meditation and Kabbalah."