Short answer. The Zohar ("Radiance") is the central text of Kabbalah: a sprawling Aramaic mystical commentary on the Torah, presented as the teaching of the 2nd-century sage Shimon bar Yochai but argued by Scholem to have been composed in 1280s Castile, largely by Moses de Leon. It maps God's hidden inner life as ten Sefirot and reads scripture as a garment over a living soul.
A book that claims one author and probably had another
The Zohar presents itself as the secret teaching of Rabbi Shimon bar Yochai (the "Rashbi"), a real Galilean sage of the 2nd century CE, dictated to a circle of disciples in the land of Israel. For centuries it was received that way. Gershom Scholem's Major Trends in Jewish Mysticism (1941) dismantled the surface claim: the Zohar's Aramaic is artificial (the construction of a writer whose living language was Hebrew) and its vocabulary, theology, and even its geographical mistakes belong to 13th-century Christian Spain, not Roman Palestine. By comparing the Zohar with the signed Hebrew works of Moses de Leon (c. 1240-1305) of Castile, Scholem identified de Leon as the principal author, placing the bulk of the text in the last two decades of the 13th century (Scholem, Major Trends, 1941; Kabbalah, 1974). The medieval Castilian setting is now the consensus. What remains genuinely open is how many hands were involved: Yehuda Liebes, Moshe Idel, and others argue for a circle of mystics around de Leon rather than a single pen, resonance you can lean on, not influence you can bank. (Pseudepigraphy here is not fraud but a recognized mystical genre, attributing new revelation to an ancient authority.)
The garment, the body, and the soul of Torah
The Zohar's most quoted passage is its theory of reading. In Zohar III:152a, Rabbi Shimon thunders: "Woe to those who say that the Torah came only to tell stories." The plain narratives, he says, are merely the Torah's garments; beneath them lies the body (the commandments and their deeper sense), and beneath that the soul, the hidden divine meaning, with a "soul of the soul" deeper still (Zohar III:152a; Green, A Guide to the Zohar, 2004). Fools mistake the clothing for the body and the body for the soul. This is a hermeneutic with enormous reach: scripture is multilayered, and the surface story is the least of it. The four-fold reading later summarized as PaRDeS (peshat (plain), remez (hint), derash (homily), sod (secret)) finds its great workshop here. The Zohar does not abolish the literal; it insists the literal is a costume worn by something alive.
The Sefirot: God's inner life, mapped
The Zohar's theology rests on the ten Sefirot, not creatures, not idols, but the inner emanations or "faces" through which the utterly hidden God (Ein Sof, "the Infinite") becomes knowable and active (Scholem, Major Trends, 1941; Matt, The Zohar: Pritzker Edition, 2004-2017). They run from Keter (Crown) down through Chokhmah and Binah, the moral poles of Chesed (love) and Gevurah (severity), to Malkhut / Shekhinah, the indwelling divine presence often imaged as feminine and as Israel's bride. Crucially, the Sefirot are dynamic and relational: human action below (prayer, ethics, the commandments) is said to repair, unite, or wound the flow of divine life above. This is participatory mysticism, not bare monotheistic distance: the human being is woven into the inner drama of God. It is also where the Zohar's daring lies, mapping multiplicity and even gendered tension within the One without (its authors insist) compromising God's unity.
Why the Zohar mattered, and still does
For roughly five centuries the Zohar functioned almost as a third Jewish scripture, ranked by many alongside the Bible and Talmud. It shaped the Safed Kabbalah of the 16th century and Isaac Luria's cosmology of cosmic rupture and repair (tikkun), fed the explosive Sabbatian movement, and became the devotional bloodstream of Hasidism (Scholem, Major Trends, 1941; Idel, Kabbalah: New Perspectives, 1988). Its symbolic vocabulary (Shekhinah, the Sefirot, tikkun olam) has migrated far beyond its origins into modern Jewish thought and popular spirituality. Daniel Matt's twelve-volume Pritzker translation (2004-2017) finally made its difficult Aramaic accessible in English. Its enduring power is the move at III:152a: the conviction that the visible world and the visible text are garments, and that the real work is reading through the cloth to the life underneath.
Common questions
Who wrote the Zohar?
The Zohar presents itself as the teaching of the 2nd-century Galilean sage Shimon bar Yochai, and for centuries it was received that way. Gershom Scholem's Major Trends in Jewish Mysticism (1941) argued instead that the bulk of it was composed in 1280s Castile, largely by Moses de Leon (c. 1240-1305), and the medieval Castilian setting is now the consensus. What remains genuinely open is how many hands were involved: Yehuda Liebes, Moshe Idel, and others argue for a circle of mystics around de Leon rather than a single pen, resonance you can lean on, not influence you can bank.
What language is the Zohar written in?
It is written in Aramaic, but on Scholem's reading that Aramaic is artificial, the construction of a writer whose living language was Hebrew. Its vocabulary, theology, and even its geographical mistakes belong to 13th-century Christian Spain rather than Roman Palestine, which is part of why Scholem placed it in medieval Castile.
Is the Zohar part of the Bible?
No. For roughly five centuries it functioned almost as a third Jewish scripture, ranked by many alongside the Bible and Talmud, but it is a Kabbalistic commentary on the Torah, not part of the biblical canon. Its claim to 2nd-century authorship is best understood as pseudepigraphy, which here is not fraud but a recognized mystical genre attributing new revelation to an ancient authority.
What are the Sefirot in the Zohar?
The Sefirot are the ten inner emanations or "faces" through which the utterly hidden God (Ein Sof, "the Infinite") becomes knowable and active. They run from Keter (Crown) down through the moral poles of Chesed (love) and Gevurah (severity) to Malkhut / Shekhinah, the indwelling divine presence. They are not creatures or idols, and the Zohar's daring lies in mapping multiplicity and even gendered tension within the One without (its authors insist) compromising God's unity.
This page describes what the Zohar is and where it came from; it does not adjudicate its truth claims, and it keeps the authorship question at the level scholarship supports, a 13th-century Castilian work in 2nd-century dress.
Sources
Zohar III:152a (the garment/body/soul of Torah). Gershom Scholem, Major Trends in Jewish Mysticism (1941) and Kabbalah (1974); Moshe Idel, Kabbalah: New Perspectives (1988); Arthur Green, A Guide to the Zohar (2004); Daniel C. Matt, The Zohar: Pritzker Edition (2004-2017).