It is a separate appendix to the Zohar, a crucial 13th-century work of Kabbalah, consisting of seventy commentaries on the opening word of the Torah, In the beginning, in the Midrashic style.
[2][3] Tikunei haZohar claims to have been composed by the tanna Shimon bar Yochai and his son Eleazar ben Simeon.
Jerusalem kabbalist Daniel Frisch (1935–2005) published a Hebrew translation of and commentary on Tikunei haZohar and the Zohar itself called Matok miDvash (מתוק מדבש).
The more noted ones include: Or Yakar by Moses ben Jacob Cordovero, Kisse Melekh by Shalom Buzaglo, Or Yisrael by Yisroel Hopstein, Biurei haGra on Tikunei Zohar (Vilna, Jewish year 5627), Chemdat Tzvi by Tzvi Hirsh of Zidichov, Be'er Yitzchak by Yitzchak Aizik of Polotsk, Be'er Lechai Ro'i by Tzvi Hirsh Shapira of Munkatch/Dinov [Dynow], Kegan haYarak by Kalfa Guedj, Netzutzei Zohar by Rav Reuven Margoliot, Metok Medvash by David Meir Frisch, and the Sulam by Yehuda Ashlag.
In Chasidic communities (and others, more recently) it has been customary to publicize a list of praises of this custom and to distribute it and/or the book on the eve of Rosh Chodesh Elul[5] One particular influence of Tikunei haZohar is that Tikkun #21 is referenced in Likutei Moharan II #8 and other works of Nachman of Breslov in discussing "the song that will be awakened in the future" at the time of the ultimate Redemption and end of the exile: the "simple, double, triple and quadruple song ... Y YK YKW YKWK (K has been substituted for H to guard the sanctity of the Tetragrammaton).