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Shevirah : ウィキペディア英語版
Tohu and Tikun

Olam HaTohu ((ヘブライ語:עולם התהו) "The World of ''Tohu''-Chaos") and Olam HaTikun ((ヘブライ語:עולם התיקון) "The World of ''Tikun''-Rectification") are two general stages in Jewish Kabbalah, in the order of descending spiritual Worlds (''Olamot''). In subsequent creation they also represent two archetypal spiritual states of being and consciousness. Their concepts derive from the new scheme of Lurianic Kabbalah by Isaac Luria (1534–1572), the father of modern Kabbalah, based on his interpretation of classic references in the Zohar.
The implications of Tohu-Tikun underlie the origin of free will and the realm of Kelipah (evil), caused by Shevirat HaKelim/Shevirah ((ヘブライ語:שבירת הכלים) "Shattering of the Vessels" of Tohu), the processes of spiritual and physical exile and redemption, the meaning of the 613 mitzvot (Jewish observances), and the messianic rectification of existence. Through this Tikun/Tikkun (תיקון) also has an active meaning, the esoteric Birur/Beirur/Birurim ((ヘブライ語:בירור) "Sifting/Clarification") of concealed Nitzotz/Nitzutzei Kodesh/Nitzutzot ((ヘブライ語:ניצוצות) "Sparks" of Holiness) exiled in physical creation. This new paradigm in Kabbalah replaced the previous linear description of descent with a dynamic process of spiritual enclothement, where higher "souls" invest inwardly in lower "vessels". Related to the primordial cosmic realms of ''Tohu-Tikun'' are two associated spiritual states for interpreting existence, psychological temperaments, or stages in the spiritual development of the individual.
The cosmic drama of ''Tikun'' in Lurianic Kabbalah inspired the 16th-18th century popular Jewish imagination, explaining contemporary oppression and supporting messiah claimants. The revivalist Hasidic movement, from the 18th century onwards, internalised esoteric Lurianism through its own concern with experiencing Divine Omnipresence amidst daily material life. The terminology of the modern Jewish ideal of Tikkun Olam ("Fixing the World"), popularised by Reform Judaism, is taken from the Lurianic concept, but applied more widely to ethical activism in contemporary society.
==Overview of Lurianic Kabbalah==
(詳細はIsaac Luria reinterpreted the whole scheme of Kabbalah in the 16th century, essentially making the second of two different versions of theoretical Kabbalah: the ''Medieval/Classic/Zoharic'' (later systemised by Moshe Cordovero directly prior to Luria in Safed), and the ''Lurianic''. However, he understood his new doctrinal revelation as no more than the true meaning and deeper systemisation of the Zohar. Lurianic Kabbalah became the dominant system in Jewish mysticism, displacing Cordovero's, and afterwards the Zohar was read by Jewish Kabbalists in its light.
Medieval Kabbalah depicts a linear descending hierarchy of Divine vitality, the 10 sephirot (Divine attributes) emerging from concealment in the Ein Sof (unknowable simple Divine Infinity) to enact Creation, with the Five Worlds unfolding sequentially until physical creation. Lurianic Kabbalah in contrast, describes a dynamic enclothing processes of exile and redemption in the Divine flow, where higher levels descend into lower states, as souls to spiritual bodies. This process introduces or interprets new Kabbalistic doctrines and concepts.
In the Lurianic scheme, Creation is initiated by a primordial radical Divine "self-withdrawal" (''Tzimtzum''), forming a figurative "empty space/vacuum" (''Khalal'') in which only an "imprint" (''Reshimu'') remains of the withdrawn Ein Sof. Subsequent to this, a thin, diminished new emanation "ray/line" (''Kav''), able to create finitude, extends from the withdrawn infinite light into the vacuum. This represents the latently finite potentials in the Ein Sof. The new emanation is the fountainhead for all subsequent creation, but instead leads to a catastrophe in the emerging spiritual Worlds. As the vitality pours into the sephirot "vessels" (''Keilim''), they are unstable ("chaotic"-''Tohu'') and "shatter" (''Shevirah''). Their Divine light reascends, while the broken vessel fragments descend, still animated by "sparks" (''Nitzotz'') of light. The fragments become the absorbed, animating source of the subsequent Four spiritual Worlds in stable Creation (called the realms of "rectification"-''Tikun''). As the fragments are animated by exiled Divine sparks, a consciousness unaware of its Divine dependence, so resulting Creation is able to exist independently, rather than being nullified by its source. This process, however, overspills into the realms of evil ("shells"-Kelipah). ''Tikun'' is supremely embodied in the highest of the Four Worlds, the Divine Unity perfected world of Atzilut ("emanation"), through the sephirot reconfiguring as Partzufim (harmonised Divine "configurations"). Rectification of the independent lower three worlds of Beri'ah ("creation"), Yetzirah ("formation") and Assiah ("action") is the task of man. Biblical Adam incorporated the collective souls of humanity before eating from the Tree of Knowledge (a manifestation in Kabbalah of the sephirot). His sin introduced new ''Shevirah'' dispersal of Divine vitality into exile in Creation, as well as shedding soul sparks from his being. The election of Israel through receiving the Torah at Sinai, recollected the 600,000 root souls from Adam. The 613 Mitzvot Jewish observances redeem ("sift"-''Birur'') the exiled sparks of holiness from ''Tohu'', embedded below in physical creation. The messianic era for all peoples is inaugurated when the collective souls of Israel complete the esoteric cosmic ''Tikun''. National and individual spiritual failures in Jewish history delay redemption, by introducing further exile of Divine vitality to the realms of impurity. Each root soul subdivides into soul sparks that reincarnate (''Gilgulim'') to complete cosmic and personal ''Tikun'', as in Lurianism higher levels return dynamically in lower vessels. The messianic redemption combines both advantages of the supreme Divine lights of ''Tohu'', in mature rectified vessels of ''Tikun'', the unity of God and Creation.

抄文引用元・出典: フリー百科事典『 ウィキペディア(Wikipedia)
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