Arukh HaShulchan, Orach Chaim 263:16-22

Hook

Imagine the aroma of freshly baked challah, perhaps spiced with Mahlab or anise, mingling with the sweet perfume of jasmine or orange blossom. The gentle flicker of numerous oil lamps, their soft light casting dancing shadows on ancient tapestries or hand-painted ceramics. A woman, her head covered, her hands raised in silent prayer, completes the sacred act, her lips moving in a blessing that echoes through millennia. This is the Sabbath light igniting in a Sephardi or Mizrahi home – a sensory tapestry woven with devotion, history, and profound joy.

Context

Place: A Global Mosaic of Jewish Life

The Sephardi and Mizrahi heritage is not confined to a single geography but unfurls across a breathtakingly vast and diverse global canvas. From the sun-drenched shores of the Iberian Peninsula, where Sepharad once flourished, its communities were scattered by the expulsion of 1492, finding new homes and cultivating vibrant Jewish life across the Ottoman Empire—in Turkey, Greece, Bulgaria, Bosnia, and the Levant (Syria, Lebanon, Israel). Further east, in the ancient lands of the Middle East and North Africa (the Maghreb: Morocco, Algeria, Tunisia, Libya, Egypt, Iraq, Yemen), Jewish communities, often predating the rise of Islam, maintained unique traditions, languages, and melodies. This mosaic extends even to the distant reaches of Central Asia (Bukhara, Afghanistan) and India (Cochin, Bene Israel), each community a living testament to resilience and adaptation.

In each locale, Jewish practice absorbed the subtle hues of its surroundings while preserving its distinct identity. The liturgical music of Syrian Jews, for instance, often integrates the intricate maqamat (melodic modes) of Arabic classical music, transforming prayers into profound spiritual journeys. Moroccan Jews, especially those from the northern regions, carry the echoes of Andalusian poetry and music in their piyutim and bakashot (supplications). The communities of the former Ottoman Empire, speaking Ladino (Judeo-Spanish), developed their own rich repertoire of romances and coplas, intertwining their sacred and secular lives. Yemenite Jewry, largely untouched by the expulsions from Spain, maintained a remarkably ancient and distinct nusach (liturgical style) and pronunciation, often seen as a direct link to the Gaonic period. Each of these branches, while united by a shared commitment to Torah, developed unique customs, culinary traditions, and linguistic nuances, contributing to the "textured" beauty of Sephardi and Mizrahi heritage. This dispersion, far from weakening the tradition, enriched it, creating a symphony of practices that reflects the enduring light of Jewish life across continents.

Era: From Antiquity to Enduring Legacy

The thread of Sephardi and Mizrahi heritage stretches back to the earliest dispersions of the Jewish people, far preceding the medieval period that often defines "Sephardic" in popular imagination. Many Mizrahi communities, particularly in Iraq (Babylon), Syria, and Yemen, trace their lineage to the First Temple period or the Babylonian Exile itself. The Gaonic era (6th-11th centuries CE) in Babylonia was a foundational period, establishing much of the halakhic framework and liturgical structures that continue to influence all Jewish traditions, especially Mizrahi ones.

The Golden Age of Spain (roughly 10th-15th centuries) represents a pinnacle of Sephardic intellectual and cultural flourishing, producing giants like Rabbi Shmuel HaNagid, Rabbi Yehuda Halevi, Rabbi Avraham Ibn Ezra, and the towering figure of Rabbi Moshe ben Maimon, the Rambam (Maimonides). Their philosophical, poetic, and halakhic works became cornerstones of Jewish thought worldwide. The expulsion from Spain in 1492 and Portugal in 1497, a moment of profound trauma, paradoxically led to a new flourishing in the Ottoman Empire, where Sephardic scholars, poets, and mystics (like Rabbi Yosef Caro, author of the Shulchan Arukh, and Rabbi Shlomo Alkabetz, composer of "Lekha Dodi") revitalized Jewish life and scholarship.

Throughout the subsequent centuries, in places like Fez, Baghdad, Aleppo, Salonica, and Cairo, a continuous chain of poskim (halakhic decisors), mystics, and poets ensured the vibrant transmission of Torah. The Arukh HaShulchan, though a later Ashkenazic work (19th-20th century, Rabbi Yechiel Michel Epstein), draws extensively from the foundational texts like the Rambam's Mishneh Torah and Rabbi Yosef Caro's Shulchan Arukh, which are central to Sephardi halakhic tradition. Thus, the "era" of Sephardi and Mizrahi tradition is not a static point but a dynamic, continuous stream of intellectual and spiritual engagement, adapting and thriving across millennia, always with an eye to its ancient roots.

Community: Guardians of Ancient Paths and Vibrant Expression

The communities that comprise Sephardi and Mizrahi Jewry are characterized by a profound reverence for tradition, often expressed through a deep commitment to family, hospitality, and communal solidarity. While unified by a shared commitment to Halakha and a deep love for Torah, they also celebrate the distinct flavors of their local customs (minhagim) and melodies (nusachot). There is a palpable sense of pride in their unique heritage, often expressed through the preservation of Judeo-Spanish (Ladino), Judeo-Arabic, Judeo-Persian, and other Judeo-languages, each carrying centuries of stories, proverbs, and songs.

These communities are known for their warmth, their elaborate Shabbat and holiday celebrations, and their rich piyut traditions, which transform prayer into poetic art. The role of women in maintaining and transmitting these traditions, particularly through the home, is central and deeply honored. The intellectual rigor of Sephardic poskim, from the Rambam to Rabbi Ovadia Yosef zt"l, shaped not only their own communities but influenced Jewish law globally. Yet, alongside this intellectual tradition, there exists a deep mystical vein, often expressed through Kabbalah, particularly in Moroccan and Syrian communities. This blend of rigorous scholarship, mystical depth, and communal warmth creates a Jewish experience that is both intellectually stimulating and profoundly soulful. Each community, whether from Yemen, Iraq, Morocco, or Turkey, stands as a testament to an enduring legacy, carefully guarding and vibrantly expressing its unique facet of the Jewish soul.

Text Snapshot

The Arukh HaShulchan, drawing from the profound insights of the Rambam and the foundational commentary of Rashi, illuminates the sacred obligation of lighting Shabbat candles. It declares that this act is far from optional; it is a profound mitzvah for both men and women, so essential that one must even beg for oil to fulfill it. This imperative stems from its inclusion within Oneg Shabbat (Shabbat pleasure) or Kavod Shabbat (Shabbat honor), a debate highlighting the multifaceted significance of the light. Crucially, the text emphasizes the recitation of a blessing, "Blessed are You...Who has sanctified us with His commandments and commanded us to kindle a light for Shabbat," affirming its status as a Rabbinical ordinance that elevates the physical act into a spiritual embrace of the holy day.

Minhag/Melody

The lighting of Shabbat candles within Sephardi and Mizrahi traditions is a moment of profound spiritual gravity and communal beauty, imbued with distinct practices and melodies that reflect centuries of heritage. The Arukh HaShulchan's discussion on the mitzvah of light – whether for oneg or kavod Shabbat – resonates deeply within these communities, shaping not only how the candles are lit but also the very spirit surrounding this sacred act.

The Sacred Dance of Light: Sephardi Candle Lighting Practices

In many Sephardi and Mizrahi homes, the preparation for Shabbat is an immersive, sensory experience, and the candle lighting is its crowning moment.

The Number of Flames: Illuminating with Intention

While Ashkenazi custom often dictates two candles (symbolizing Zachor and Shamor, "Remember" and "Observe" Shabbat), Sephardi and Mizrahi communities frequently light more. This practice is rich with symbolism:

• One per Family Member: A beautiful and widespread custom, particularly among Moroccan, Syrian, and some Iraqi Jews, is to light one candle for each member of the household, including children. This highlights the collective responsibility and blessing bestowed upon the entire family as they usher in Shabbat. Each flame represents a soul, a prayer for its well-being and a recognition of its unique contribution to the sanctity of the home.
• Seven Candles: In some communities, especially those with deeper kabbalistic influences (like certain Moroccan and Turkish traditions), seven candles are lit. This number holds profound significance, representing the seven days of creation, the seven sefirot (divine emanations) of the lower world, or the seven blessings recited under the chuppah. It elevates the act of lighting into a cosmic prayer, drawing down divine light into the physical realm.
• Symbolic Numbers: Other communities might light three (representing the three patriarchs or the three meals of Shabbat) or five candles. Regardless of the exact number, the underlying principle is to increase light, enhancing both the oneg (pleasure) and kavod (honor) of Shabbat, making the home visibly distinct and illuminated for the holy day. This abundance of light is a visual manifestation of the joy and reverence with which Shabbat is welcomed.

Timing and Tosefet Shabbat: Extending the Sacred

Many Sephardi and Mizrahi communities have a minhag to light candles earlier than the latest possible time, often practicing a significant Tosefet Shabbat (adding to Shabbat). This means accepting Shabbat and lighting candles well before sunset, sometimes up to an hour or more prior. This practice is rooted in a desire to embrace Shabbat with ample time, avoiding any accidental transgression, and to infuse the home with its sanctity earlier. It's a conscious act of slowing down, transitioning from the week's hustle to Shabbat's tranquility with deliberation and devotion. The early lighting allows for a more relaxed preparation for the Shabbat meal and a deeper immersion into the spiritual atmosphere.

The Blessing Order: "Bless Then Light" – A Foundational Sephardi Practice

Perhaps the most defining and widely recognized difference in candle lighting minhag between Sephardi and Ashkenazi traditions lies in the order of the blessing (berakha) and the lighting itself.

• The Sephardi Practice: Following the straightforward ruling of the Rambam and the Shulchan Arukh (Orach Chaim 263:5), Sephardi and Mizrahi communities recite the blessing ("Baruch Ata Adonai...asher kid'shanu b'mitzvotav v'tzivanu l'hadlik ner shel Shabbat") before kindling the lights.
  • The Halakhic Logic: This practice adheres to the general halakhic principle of mitzvah over la'asiyatan – one recites the blessing before performing the mitzvah. The underlying understanding is that the mitzvah of Shabbat candles is not merely the act of lighting, but the presence of light for Shabbat. The blessing is recited on the commandment to have light, and the lighting is the means to achieve that state. Furthermore, Sephardic poskim reason that accepting Shabbat (which is conceptually completed with the blessing) does not prohibit the performance of a mitzvah (lighting the candles for Shabbat's sake). Rather, it prohibits melakha (forbidden labors) done for personal, weekday purposes. Since the lighting here is a mitzvah, it is not a forbidden melakha. This approach is seen as a direct and unembellished fulfillment of the halakha as codified by the most authoritative Sephardic sources. The woman then lights the candles, often with a silent prayer for her family, after which she may kiss the mezuzah or her children, fully embracing the sacred time.

Melodies of Welcome: Piyutim and Zemirot

The sensory experience of Shabbat in Sephardi and Mizrahi homes is incomplete without the rich tapestry of piyutim (liturgical poems) and zemirot (songs) that accompany its arrival. These melodies transform the spiritual embrace of Shabbat into a communal and deeply emotional journey.

"Lekha Dodi": A Symphony of Sephardi Nusachot

While "Lekha Dodi" is a universal anthem for welcoming Shabbat, its melodies (nusachot) are incredibly diverse within Sephardi and Mizrahi communities, each reflecting the unique cultural and musical heritage of its origin. Composed by Rabbi Shlomo Alkabetz in 16th-century Safed, this piyut became a vehicle for expressing longing for the Divine Presence and the mystical Bride, Shabbat.

• Moroccan/Andalusian Nusach: Often characterized by its majestic, sometimes melancholic, and deeply soulful tones, reflecting the influence of classical Andalusian music. These melodies can be intricate, featuring rich vocal ornamentations and a sense of profound reverence, slowly building in intensity as the community welcomes the Shabbat Queen. The hazzan (cantor) might employ a more free-form, improvisational style, drawing from the nuba (Andalusian musical suite) tradition, making each rendition a unique spiritual offering.
• Syrian/Mizrahi Nusach: These melodies frequently utilize the maqam system, a modal framework common in Middle Eastern music. Depending on the maqam chosen for a particular week or occasion, the "Lekha Dodi" can evoke different emotions – joy (maqam ajam), yearning (maqam nahawand), or spiritual introspection (maqam saba). The interplay between the hazzan and the congregation is often dynamic, with call-and-response elements creating a vibrant, communal experience. These melodies are often taught from childhood, passed down through generations, and are deeply ingrained in the community's identity.
• Turkish/Ottoman Nusach: Influenced by classical Ottoman Turkish music, these melodies often feature complex rhythms and sophisticated melodic lines. They can be grand and formal, yet imbued with a profound sense of devotion. The hazzan might lead with a powerful, soaring voice, while the congregation provides a resonant chorus, creating an atmosphere of majestic welcome.
• Yemenite Nusach: Distinctly unique, Yemenite "Lekha Dodi" melodies are often more ancient in feel, less influenced by external classical traditions. They are characterized by their rhythmic drive, often with a strong communal unison, and a raw, deeply spiritual quality. The shira (singing) is often accompanied by a rhythmic clapping, drawing everyone into a joyous and fervent anticipation of Shabbat.

These diverse nusachot are not just different tunes; they are different spiritual pathways, each inviting the worshipper to connect with Shabbat's sanctity through their unique emotional and cultural lens.

"Yedid Nefesh": A Mystical Embrace

Another piyut universally cherished in Sephardi and Mizrahi communities, often sung just before Maariv (evening service) on Friday night, is "Yedid Nefesh" (Beloved of the Soul). Composed by Rabbi Elazar Azikri (16th century Safed), its deeply mystical verses express the soul's yearning for closeness with God. In Sephardi and Mizrahi synagogues and homes, the melodies for "Yedid Nefesh" are often slow, contemplative, and profoundly moving, setting a meditative tone for the incoming Shabbat. They prepare the heart for prayer and spiritual elevation, fostering a sense of intimacy with the Divine.

Other Shabbat Zemirot and Bakashot

Beyond these renowned piyutim, many communities possess unique collections of zemirot (table songs) and bakashot (supplications) for Shabbat. For instance:

• Moroccan Bakashot: In many Moroccan communities, elaborate bakashot sessions are held on Friday night, often extending for hours, featuring complex poems and melodies sung by the men of the community. These are not merely songs but profound spiritual exercises, preparing the soul for the day of rest.
• Syrian Pizmonim: Syrian Jews have a rich tradition of Pizmonim – liturgical poems set to specific maqamat – many of which are designated for Shabbat. These are sung at the Shabbat table and in synagogue, adding a layer of musical and poetic depth to the day.
• Ladino Songs: In Ladino-speaking communities, traditional Ladino songs (e.g., "Cuando el Rey Nimrod," though not explicitly for Shabbat, reflects the cultural milieu) often accompany Shabbat meals, alongside Hebrew zemirot, linking the sacred with the cultural heritage.

The integration of these piyutim and zemirot into the Shabbat experience ensures that the welcome of Shabbat is not merely a ritualistic act but a full sensory and emotional immersion, weaving together history, spirituality, and communal identity through the power of melody. The abundant light of the candles and the rich harmony of the songs together create a sacred space, transforming the home into a miniature sanctuary, a reflection of the Divine Presence.

Contrast

One of the most profound and illustrative differences in minhag between Sephardi/Mizrahi and Ashkenazi traditions, directly tied to our text's discussion of the blessing for Shabbat candles, lies in the precise order of reciting the berakha (blessing) and performing the mitzvah of lighting. This divergence is not a matter of one being "more correct" but rather a testament to the rich, dynamic, and intellectually honest nature of Halakha, where different schools of thought arrived at distinct, yet equally valid, pathways to fulfilling the divine command.

The Sephardi Practice: Blessing Then Lighting

As discussed, the predominant Sephardi and Mizrahi minhag, following the explicit ruling of the Rambam (Mishneh Torah, Hilkhot Shabbat 5:1) and codified by Maran Rabbi Yosef Caro in the Shulchan Arukh (Orach Chaim 263:5), is to recite the blessing for Shabbat candles before kindling the flames.

The Halakhic Rationale:

1. "Mitzvah Over La'asiyatan" (Blessing Precedes the Act): This is a fundamental principle in Jewish law: one generally recites a blessing immediately before performing a mitzvah. The Sephardi understanding applies this principle directly. The blessing is on the commandment to have light for Shabbat, and the lighting is the subsequent act that brings this commanded state into being.
2. Nature of the Mitzvah: Sephardic poskim view the essence of the mitzvah not as the act of lighting itself, but as the presence of light (or the readiness for light) in the home for Shabbat. Therefore, the blessing is recited upon the commitment to fulfill this state, and the lighting then actualizes it.
3. Acceptance of Shabbat: The central point of contention for Ashkenazi minhag is the idea that reciting the blessing formally accepts Shabbat, thereby prohibiting melakha (forbidden labors), which includes kindling fire. However, Sephardic authorities counter this by arguing that lighting candles for the sake of Shabbat itself (a mitzvah) is not considered a melakha in the sense of a forbidden, weekday activity. The prohibition of melakha on Shabbat applies to activities performed for one's own benefit or for the purpose of creation, not to a divinely commanded act that brings sanctity to the day. Therefore, even if the blessing formally accepts Shabbat, performing the mitzvah of lighting for Shabbat's honor is permissible and, in fact, the intended sequence.
   • Rabbi Ovadia Yosef zt"l, a towering Sephardic posek of the 20th century, strongly upheld this tradition, emphasizing the importance of following the Shulchan Arukh's clear ruling and the consistent practice of Sephardic Jewry for centuries. He argued that deviating from this order would be a departure from the established halakhic path for Sephardim.

The Ashkenazi Practice: Lighting Then Blessing (with Eye-Covering)

The prevalent Ashkenazi minhag, as codified by the Rema (Rabbi Moshe Isserles) in his glosses on the Shulchan Arukh (Orach Chaim 263:5), is to kindle the Shabbat lights first, and then recite the blessing. To reconcile this with the principle of mitzvah over la'asiyatan, Ashkenazi women typically cover their eyes after lighting the candles, recite the blessing, and then uncover their eyes, thereby "receiving" or "benefiting" from the light after the blessing.

The Halakhic Rationale:

1. Avoiding Melakha After Accepting Shabbat: The primary concern for Ashkenazi poskim is the principle that once Shabbat is formally accepted (which is understood to occur with the recitation of the blessing over Shabbat candles), one cannot perform any melakha, including kindling fire. To light the candles after the blessing would be to perform a melakha on Shabbat.
2. Fulfilling "Mitzvah Over La'asiyatan" Conceptually: To uphold mitzvah over la'asiyatan, the act of covering the eyes serves a crucial purpose. By covering the eyes, the woman lights the candles before formally accepting Shabbat (which happens with the blessing). When she recites the blessing with her eyes covered, she is accepting Shabbat and blessing the mitzvah. Upon uncovering her eyes, she "receives" the light, and thus the fulfillment of the mitzvah (the benefit of light for Shabbat) occurs after the blessing. This ingenious solution allows for both the avoidance of melakha on Shabbat and the conceptual adherence to the principle of blessing before the mitzvah's full experience.
3. Emphasis on the Act of Lighting: The Ashkenazi approach places more emphasis on the act of lighting as the core of the mitzvah, and thus seeks to ensure that the blessing precedes this critical moment, even if conceptually.

A Deeper Appreciation for Halakhic Diversity

This difference is a classic example of how minhag develops and is codified, reflecting different halakhic priorities and interpretations.

• Sephardi Tradition: Tends to adhere more strictly to the explicit rulings of the Shulchan Arukh and the Rambam, emphasizing the direct application of mitzvah over la'asiyatan to the presence of light for Shabbat, and understanding the act of lighting for a mitzvah as distinct from a forbidden melakha.
• Ashkenazi Tradition: While respecting the Shulchan Arukh, it also integrates the glosses of the Rema, which often codified existing Ashkenazi minhagim that sometimes prioritized avoiding even a perceived melakha after Shabbat acceptance, leading to the creative solution of eye-covering.

Both approaches are deeply rooted in halakhic scholarship and profound devotion. Neither is superior; they are simply different expressions of the same ultimate goal: to fulfill the mitzvah of lighting Shabbat candles in the most beautiful and halakhically sound manner according to their respective traditions. This divergence highlights the inherent richness and "textured" nature of Jewish law, where Lashon Hakodesh (the holy language) and Minhag Yisrael (Jewish custom) find diverse, yet equally sacred, forms of expression. It invites us to appreciate the wisdom and ingenuity of our Sages across all communities, who meticulously crafted pathways for us to connect with the Divine.

Home Practice

To truly connect with the vibrant spirit of Sephardi and Mizrahi Shabbat traditions, here's a small, beautiful adoption anyone can try, regardless of their current minhag:

Light an Extra Candle with a Specific Intention (and embrace the sensory)

Many Sephardi and Mizrahi communities light more than the traditional two Shabbat candles, often one for each family member or even seven for profound symbolism. You can adopt this practice, even by simply adding one extra candle to your usual Shabbat lighting.

1. Choose Your Intention (Kavvanah): Before lighting this extra flame, pause for a moment. Instead of just adding a candle, infuse it with a specific, personal kavvanah (intention or prayer). Dedicate this flame to:

   • Peace: For shalom bayit (peace in the home) or for shalom in Israel and the world.
   • Healing: For the refuah shleimah (complete healing) of a loved one or all those in need.
   • Blessing: For parnassah (livelihood), hatzlacha (success), or for specific blessings upon your children or family members.
   • Gratitude: A candle of pure thanks for a specific blessing in your life. This simple act transforms the ritual into a deeply personal conversation with the Divine, making the light a physical manifestation of your prayers and hopes. It connects you to the Sephardic emphasis on personalizing mitzvot and drawing down blessings through specific intentions.

2. Embrace the Sensory Anticipation: Beyond the candles, Sephardi and Mizrahi homes often awaken to Shabbat with specific scents and sounds. Enhance your oneg Shabbat by consciously creating a sensory anticipation:

   • Aromas: Light a natural, fragrant candle (before Shabbat begins, if it's not the Shabbat candles themselves) or use essential oil diffusers with scents like jasmine, rose, orange blossom, or myrtle. These aromas are evocative of many Sephardi lands and infuse the home with a serene, celebratory atmosphere, connecting to the idea of oneg Shabbat as a holistic experience.
   • Melody: Before candle lighting or during your Shabbat meal, play or listen to a Sephardi nusach of "Lekha Dodi" or "Yedid Nefesh." Many versions are available online. Even if you don't sing along, simply allowing the unique, soulful melodies to wash over you can transport you to the vibrant spiritual landscape of these traditions, enriching your welcome of Shabbat.

By adding an extra candle with intention and consciously engaging your senses, you're not just performing a ritual; you're inviting the profound, textured beauty of Sephardi and Mizrahi heritage into your home, transforming your Shabbat into an even deeper, more personal, and celebratory experience.

Takeaway

The diverse, radiant flames of Sephardi and Mizrahi Shabbat candles, each lit with its own unique minhag and accompanied by ancient, soulful melodies, illuminate far more than just our homes. They are beacons, reflecting the vast, rich tapestry of Jewish tradition – a testament to resilience, intellectual depth, and unwavering devotion. Each distinct practice, from the blessing order to the number of candles, is a precious, carefully preserved facet of our shared heritage, inviting us to appreciate the profound beauty found in our collective Jewish story and the myriad ways we connect to the Divine light.