Water, Light, and Colors: God is Entirely One
In the beginning Ein Sof emanated ten sefirot, which are of its essence, united with it. It and they are entirely one. There is no change or division in the emanator that would justify saying it is divided into parts in these various sefirot. Division and change do not apply to it, only to the external sefirot. To help you conceive this, imagine…
The great master of sixteenth-century kabbalah, Moses Cordovero, developed an artistically rich discourse of mythic poetry, a poetics of theology. In this text, he expounds the difference between human knowledge of God (the “epistemic” perspective), as experienced through the seemingly distinct ten divine dimensions, or sefirot, and the “ontological” essence or deep truth of reality, of divine Being. As Cordovero frames it, the emanational flow, the life-force of divinity, is the indivisible oneness of En Sof—of the divine endless. Beneath all appearances, within the apparently separate colors of the different sefirot, all is One: a single river of transcendent energy, an unchanging and undivided force of the All. And yet, to the mystic, to the meditator, this fundamental unity so often manifests as being composed of different colors, aspects, and qualities. This is an illusion, a trick of the mind, Cordovero teaches. Just as water passes through containers of different colors, seemingly taking on those colors, so too the ultimate ground of divine Oneness, of En Sof, passes through the ten sefirot. As Cordovero puts it, articulating the tension between true reality and its prescription by the human mind: “The change in color does not affect the water itself, just our perception of the water.” This classic text is a textured example of the mystic principle of theology that all is One, and that oneness is the flowing being of God. We may perceive, or think we perceive, fragmentation and difference, but it is only the illusion of our finite human perception.
How does Cordovero utilize the analogies of stained glass, light, water, and vessels to articulate his core theological point?
What is the relationship here between the essential being of God, divine ontology, and human knowledge, epistemology? Is there a tension between the divine essence and the ways in which the human mind perceives and experiences God?
How would you explain the idea of the En Sof, The Endless, and the sefirot as Cordovero presents them? What most deeply defines and characterizes the texture of this passage and why do you think it is significant?
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