The Pathway of Fire according to the Qabbalah, 'Ehjeh 'Aser 'Ehjeh (I am That I am)

by Raphael

This book is not an essay on the Qabbalah nor a historical study on its origins, but a synthetic presentation in the form of sutra-aphorisms in order to be able to "comprehend" and "realize" its teaching. The expression 'Ehjeh 'A er 'Ehjeh, which means "I am That I am" or "Being is Being," represents the knowledge by identity. Therefore the Qabbalah, like any other traditional doctrine, does not constitute a simple learned knowledge but life experience. The symbol of the Qabbalah is the Sephirothic Tree in which are are summed up the indefinite expressive possibilities (Sephiroth) of the micro and macrocosm, beyond which there is the sphere of Ain Soph Aur (Absolute) which corresponds to the One-without-a-second (advaita), the unqualified Brahman (nirguna) of the Vedanta doctrine. In view of the fact that the Qabbalah represents a complete teaching, above all RAPHAEL brings to light its metaphysical sphere (Ain Soph Aur) and the pathway taking to it: the "Pathway of Fire." That is the Pathway" that each disciple, to whatever branch he may belong to, must travel in order to realize the identity with his own Essence.

108 pages, Paperback

First published September 1, 2012

About the author

Raphael Sanzio, usually known by his first name alone (in Italian Raffaello (April 6 or March 28, 1483 – April 6, 1520) was an Italian painter and architect of the High Renaissance, celebrated for the perfection and grace of his paintings and drawings. Together with Michelangelo and Leonardo da Vinci he forms the traditional trinity of great masters of that period.

Raphael was enormously productive and, despite his early death at thirty-seven, a large body of his work remains, especially in the Vatican. He was extremely influential in his lifetime, but after his death the influence of his great rival Michelangelo was more widespread until the 18th and 19th centuries, when his more serene and harmonious qualities were again regarded as the highest models.

His career falls naturally into three phases and three styles, first described by Giorgio Vasari: his early years in Umbria, then a period of about four years (from 1504-1508) absorbing the artistic traditions of Florence, followed by his last hectic and triumphant twelve years in Rome, working for two Popes and their close associates.