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Umberger and other critics have adduced careful veilings of provocative content in Traylor's work.
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Relatedly, Olam — the Hebrew for "World/Realm" — is derived from the root עלם meaning "concealment". This etymology is complementary with the concept of Tzimtzum in that the subsequent spiritual realms and the ultimate physical universe conceal to different degrees the infinite spiritual lifeforce of creation. Their progressive diminutions of the Divine Ohr (Light) from realm to realm in creation are also referred to in the plural as secondary tzimtzumim (innumerable "condensations/veilings/constrictions" of the lifeforce). However, these subsequent concealments are found in earlier, Medieval Kabbalah.
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Labino called this particular vase "Break-Through Gold Veilings" from the Emergence Series. This vase is from the Smithsonian Institution's Renwick Gallery 1980 exhibit of Dominick Labino, along with other leaders of the Studio Art Glass Movement in the U.S. This vase is in a private collection in New York City. In 1963 Labino set up his own glass studio on his farm near Grand Rapids, Ohio. He designed glass-blowing and finishing tools; built his own furnaces and annealing ovens; and began freehand blowing with molten glass.
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To Luria, this causal chain did not resolve the difficulty, as the infinite quality of the Ohr Ein Sof, even if subject to countless veilings/contractions would still prevent independent existence. He advanced an initial, radical primordial Tzimtzum leap before Creation, the self- withdrawal of Divinity. At the centre of the Ein Sof, the withdrawal formed a metaphorical (non-spatial) Khalal/Makom Ponui ("Vacuum/Empty Space") in which Creation would take place. The vacuum was not totally empty, as a slight Reshima ("Impression") of the prior Reality remained, similar to water that clings to an emptied vessel.
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The vitality first shone to Adam Kadmon ("Primordial Man"), the realm of Divine Will), named metaphorically in relation to Man who is rooted in the initial Divine plan. From Adam Kadmon emerged sequentially the descending Four spiritual Realms: Atziluth ("Emanation" - the level of Divine Wisdom), Beriah ("Creation" - Divine Intellect), Yetzirah ("Formation" - Divine Emotions), Assiah ("Action" - Divine Realisation). In Medieval Kabbalah the problem of finite creation emerging from the Infinite was partially resolved by innumerable, successive tzimtzumim concealments/contractions/veilings of the Divine abundance down through the Worlds, successively reducing it to appropriate intensities. At each stage, the absorbed flow created realms, transmitting residue to lower levels.
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As the Ohr Ein Sof is itself infinite, it could not itself directly be the source for the creation of Worlds (Four Worlds and Seder hishtalshelus). Any direct creations of the Infinite Light would be of infinite number, and would not be actual creations at all, as they would remain totally nullified ("bittul") to the Infinite Light, and would have no independent self-awareness. Rather it is only through the restrictions of the Sephirot and the descending "Chain of Progression" (Seder hishtalshelus), that the Worlds could unfold. In the descending chain of Worlds from the Infinite to our finite realm, the creative flow of Divine light encapsulated in the Sephirot, undergoes countless restrictions, diminutions and veilings, to progressively hide Divinity.
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