By Miquel Beltran
During this e-book the writer seeks to discover historiographical and textual facts that Abraham Cohen de Herrera s major kabbalistic paintings, "Puerta del Cielo," inspired Spinoza s metaphysics because it is related in his later paintings, the "Ethica." a number of the most crucial ontological subject matters maintained through the thinker, just like the notion of the 1st reason as substance, the procession of the countless modes, the subjective or metaphorical truth of the attributes, and the 2 diversified understandings of God, have been expected in Herrera s mystical treatise. either shared a specific attention of panentheism that involves acosmism. This impression is confirmed via a comparative exam of the writings of either authors, in addition to a close examine on earlier Jewish philosophical thought."
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During this e-book the writer seeks to discover historiographical and textual facts that Abraham Cohen de Herrera s major kabbalistic paintings, "Puerta del Cielo," stimulated Spinoza s metaphysics because it is related in his later paintings, the "Ethica. " some of the most vital ontological themes maintained by means of the thinker, just like the inspiration of the 1st reason as substance, the procession of the countless modes, the subjective or metaphorical fact of the attributes, and the 2 various understandings of God, have been expected in Herrera s mystical treatise.
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Additional resources for The Influence of Abraham Cohen de Herrera’s Kabbalah on Spinoza’s Metaphysics
Kiener, here, 89–90. Introduction 29 But emanation is contemplated as a process in the inwardness of ̕Ein Sof, not a descent from it located in space and time. Azriel stated that the sefirot in their totality are a unique and same essence with the One, so that given that we are able to know the emanations, we would also could reach God in His essence. Conversely, ̕Ein Sof, just as it is manifested through its emanations, would be He himself, observed from the capacity of human understanding and the idea that this emanative process is what causes the emergence of the sublunary material world arose, and led some medieval thinkers of the late Middles Ages to sustain that this inferior realm would participate from ̕Ein Sof.
The ṣimṣum as nothingness penetrates into all being, pervasively. There is no pure being and no pure not-being. Everything that exists results from the dynamic in which God withdraws into Himself and yet emanates the worlds. But God’s nothingness remains, given that He has withdrawn Himself, and the worlds can be conceived as a pale trace from a previous state of pure brightness. Luria’s Kabbalah is displayed in a somewhat different way. The ṣimṣum took place inside divine simplicity, from which all things emerge.
Azriel of Gerona, Meir ibn Gabbai, Judah Hayyat and Moses Cordovero are quoted by him as the most representative figures of a negative theology that, following the Plotinian structure of reality, places ̕Ein Sof beyond intellect and will. Even so, it seems that instead of choosing the technical terms usually employed for the formulation of that theology in Jewish Kabbalah, Herrera preferred to appeal to Christian sources. The reasons of this predilection will be later clarified. As Idel maintained in a remarkable work,70 in medieval Jewish thought two kinds of negative theologies were postulated: the philosophical, whose greatest exponents were Ibn Gabirol’s The Fountain of Life (Fons Vitae) and Maimonides’ The Guide of the Perplexed, both works influenced by the disquisitions about God maintained by certain Islamic theologians and, ultimately, by the Neoplatonism that pervaded their worlds, due to the translations of Plotinus and Proclus which constitute the treatises respectively called The Theology of Aristotle and The Book of Causes.
The Influence of Abraham Cohen de Herrera’s Kabbalah on Spinoza’s Metaphysics by Miquel Beltran