Shekhina
by Leonard Nimoy

When Leonard Nimoy's book of photography, Shekhina, was published in 2002, it created a ruckus. His depiction of alluringly glamorous women — some wearing tefillin in all their naked glory — as the essence of the feminine manifestation of God struck some as revolutionary and others as salacious. The book sold well, and even inspired a ballet aptly named, Shekhina by a New York choreographer.

A feminine word in Hebrew, Shekhina is the Talmudic term for the visible and audible manifestations of the Deity's presence on Earth. Over time, Shekhina came to represent much more — a softer, empathetic feminine counterpart to God who could argue for humanity's sake, comfort the poor and sick, and stand as the mother of Israel. Nimoy's first encounter with the mystique of Shekhina began in synagogue at the age of 8. "The men were chanting, shouting and praying in an Orthodox service. It was very passionate, very theatrical," said Nimoy. His father told him not to look, as the worshippers averted their eyes during blessings recited by the kohanim, or descendants of the priestly class. "I was chilled by the whole thing," he said. Years later Nimoy's rabbi explained to him that the entry of Shekhina into the sanctuary to bless the congregation could cast a fatally blinding light. Such a powerful memory inspired the actor/photographer to explore the feminine aspect of God in human form, including the issues of sensuality and sexuality.

To Nimoy, sexuality and spirituality are not segregated. "There are signs throughout the writings and history of Judaism that sexuality has always been a strong part of the teaching and culture of religious practice," said Nimoy, citing the examples of the Friday night bath to cleanse before sex and the teachings of the Kabbalists.

Shekhina - photography by Leonard Nimoy

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