Colours

Symbols and allegories.
Fomalhaut
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Re: Colours

Postby Fomalhaut » Tue Jan 14, 2014 3:28 pm

Tulihenki wrote:Beautiful views in this topic!
Many years ago it was like a curse, but not anymore, it's just part of me and part of my journey.

I am happy to see that you take it as a part of yours and part of your journey instead of rejecting the it.
"I am not what happened to me, I am what I choose to become."
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Seeker666
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Re: Colours

Postby Seeker666 » Fri Jan 24, 2014 3:34 am

so much has been said of black that I feel it's been well covered.
i have heard, in a humorous way, that black is a "gothic rainbow" as black absorbs all colors and all light.

the colors in my practice are black, red, and white.
they represent all facets of my practice. the SoA, Santisima Muerte, Traditional Witchcraft... etc.
they also represent the 3 souls.

black- shade, the dark wraith that makes up your lower instinct, sometimes called the fetch or the Fylgia. usually guards the resting place of the body.

red- the bones, bones are the only objects of your body that remain after death. once all the flesh and entrails rot away, (along with incorporeal concepts like wealth, beauty, status, etc) the bones remain. they are pure and represent the physical soul of the person or thing.
there are many traditional sources and cultures that "redden the bones" before doing Necromantic/Necrosophic work with them.

white- the spirit or soul that is reincarnated.

also in my SM practice

white- Santisima's bones, pure and sacred.
black- Santisima's cloak, to protect and cover
red- Santisima's Scythe, to protect and attack


Purple and black has always been a beautiful combination to me. especially if it is a very deep royal purple...

purple, being a combination or unification of red-masculine, and blue-feminine, it can represent Baphomet or even the hexagram which is the totality of fire and water. in the Baphometic interpretation could Purple be a symbolic colour of Satan? not to mention the royal attributes and history of the color, worn by kings.
if black is symbolic of all potential and chaos, could Purple represent Satan's simultaneous Manifestation/Unmanifestation on the altar or the mind?
another is the third eye chakra, which is purple in color.

could black and purple be a combination for Satan?
like black and red is for Azazel?
"Eritis sicut Deus, Scientes Bonum et Malum"- Mephistopheles
Fomalhaut
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Re: Colours

Postby Fomalhaut » Tue Feb 18, 2014 5:36 pm

Seeker666 wrote: purple, being a combination or unification of red-masculine, and blue-feminine, it can represent Baphomet or even the hexagram which is the totality of fire and water. in the Baphometic interpretation could Purple be a symbolic colour of Satan? not to mention the royal attributes and history of the color, worn by kings.
if black is symbolic of all potential and chaos, could Purple represent Satan's simultaneous Manifestation/Unmanifestation on the altar or the mind?
another is the third eye chakra, which is purple in color.

could black and purple be a combination for Satan?
like black and red is for Azazel?
Great approach. I have never thought about it this way, but I think- at least symbolically- Black and Purple could be a combination for Satan, however I believe that all the other colours also could be combinations for Satan.
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Re: Colours

Postby Fomalhaut » Sat Feb 22, 2014 12:19 am

As I have been reading Zohar for some months, there is a piece of text I would like to share from there which is relevant to this topic:
As Rabbi Simeon ceased speaking the students rose up to depart, but ere they left he himself stood up and said: "I have still a few further remarks to make before going, on two passages of scripture, which seemingly are somewhat contradictory in expression to each other. The first is, 'The Lord thy God is a consuming fire' (Deuter iv. 24); the other is, 'but ye that cleaved unto the Lord your God are alive every one of you this day'" (Deuter. iv. 4).

"If the Lord be a consuming fire as here stated, how could the children of Israel on becoming joined unto the Lord escape from being consumed, and continue to lived? It has been explained how the Divine Being is a fire that consumes every other kind of fire, for there are flames of fire more intense in their nature than others. To this statement I wish to add a few supplementary remarks. Whoever wishes to understand the mystery of union with the Divine will do well to reflect and meditate upon the flame proceeding from a lighted candle or a burning coal, in which may be recognized two kinds of flame or light, one white and the other dark or bluish in color. The white flame ascends upwards in a straight line, the dark or blue part of the flame, being below it and forming its basis. Though these be conjoined together, the white flame is always seen clearly and distinctly, and of the two is the most valuable and precious. From these observations we may gather somewhat of the occult meaning of the thekheloth (blue fringes) mentioned in scripture. The dark or blue flame is connected and conjoined with that above it, namely, the white, and also below it with the candle or coal in a state of combustion. It becomes sometimes red, whilst the superior white flame never varies in color and remains invariably the same. Furthermore, it is noticeable that the dark or blue flame consumes and wastes the substance of the coal or candle whence it emanates, but the white pure light consumes nothing and never varies. Therefore, when Moses proclaimed the Lord to be a consuming fire, he alludes to the astral fluid or flame that consumes everything similar to the dark flame that wastes and destroys the substance of the candle or coal. In using the term thy God, not our God, Moses refers to the white or Divine light which destroys nothing, in which he himself had been and came down from Mount Sinai out of it uninjured and intact. This is the case with everyone who lives in the Divine light of the higher life. He lives, then, the true or real life, and the astral light of the lower earthly life cannot harm or injure him. Therefore, to the children of Israel who had sanctified themselves and attained to this life, Moses could truly say: 'ye cleaved unto the Lord, your God, and are alive as at this time.' Above the white flame there is yet another arising out of it, yet unseen and unrecognizable by human sight and has reference to the greatest of mysteries, dim gleamings and notions of which are revealed to us by the different flames of a lighted candle or a burning coal."

As Rabbi Simeon ceased speaking, Rabbi Pinchus embraced him, exclaiming: "The Lord be praised! the Merciful One, who has led me hither." Rabbi Simeon, along with his students, went and accompanied Rabbi Pinchus on his journey for three leagues, and then bidding him adieu returned homewards.

SAID Rabbi Simeon: What I have discoursed on has reference to the secret doctrine and its teachings of the mystery of the divine wisdom united with the divine essence. Thus the final H in the tetragrammaton corresponds to the51a-51b dark or blue flame united with the three letters preceding it, I H V, making the white flame a light. Sometimes the dark is designated by the letter D, and other times by H. When Israel below is not living the divine life, it is characterized by D; but when it becomes conjoined with the white light, then it takes on itself the letter H; as it is written, 'If a damsel, a virgin, be betrothed' (Deuter. xxii-23). The word Naarah (damsel) is here written without the feminine termination H contrary to grammatical rule, naar being the male and naarah the female. Wherefore is it so written? Because she has not as yet come into union with the union with the male, and whenever this is the case the final H is found wanting. For a similar reason the dark or blue flame is designated by the letter Daleth, or D. When, however, it becomes conjoined with the white flame above it, it is represented by the letter He or H, for then a perfect union is effected in this sense, that the two become blended together (symbolizing thus the union of the lower and higher nature).

"Similar is the occult meaning of the smoke ascending from altars whereon sacrifices are offered up. It provokes into flame the blue light beneath it which, when it flashes forth and burns, becomes conjoined with the white flame above it and then as in the flame of a candle becomes or forms one whole and perfect light, and as it is the nature of the blue flame to consume that from which it emanates so does it consume the sacrifices placed on the altar; as it is written, 'When the fire of the Lord fell and consumed the burnt sacrifice' (I Kings, xviii-38). From the appearance of a perfect light or flame we may gather that the blue and white portions of it have become united into a whole when the grease of the sacrifices and burnt offerings has been consumed and then priests, levites, and all the rest of Israel becoming united with it join in the singing and chanting of hymns and psalms, and the world above and the world below are again united and blended as the flame of a candle and become blessed in the one great Divine Light of the universe. Such is the mystical meaning of the words: 'But ye that cleaved unto the Lord your God are alive,--every one of you--this day.' But wherefore doth scripture say 'but you' (veathem) and not 'you' (athem)? It is to show that whilst the sacrifices are consumed as soon as the blue flames touch them, yet Israel (living the divine life) though attached to it is not consumed, but are preserved in life unto this day.

"All colors seen in dreams are of good omen, except blue; because, as in the flame, we have observed it consumes and destroys the body beneath it. It is the upas or deadly tree that overshadows the world, and is lethal to everything beneath it. If it be objected that there are angelic beings on high who, along with mankind are equally under the blue flame and yet are not consumed, our reply is that they, as existent beings, are celestial in their essence and, therefore, different from human existences who are to the blue flame what the candle is to the light.

"In space there are forty-five divisions or directions, each of which is distinguished by different colors. The seven colors of the white light penetrate the seven abysses. and by the effect of their vibrations upon the rocks therein, cause water to flow forth, which is an allotrophic form of the air contained in the white light; light and darkness are really the producers of air and water according as the essential part or element of matter unites with one or the other. Light in passing from its primal state descends into this material world through sixty-five channels or avenues through which, when it courses, a voice is heard that makes the abysses tremble and shake, exclaiming, "Oh, matter! let light pass through thee!" as it is written, 'deep calleth unto deep at the noise of thy waterspouts (or channels)' (Ps. xlii-8). Below these there are three hundred and sixty-five smaller channels or rivulets, some of which in their color are white, some dark and others red. Each of these rivulets, of which there are seventeen, as it meanders in its course, resembles
a rose in its outlines with its layers of petals. Of these rivulets rose-like in form, two are like streams of iron and two, like copper. On the right and left of them, in the eastern and western quarters of the world, are two thrones connected and communicating with each other by means of these intermediate rivulets and channels. These thrones form each of them a heaven, that on the right being dark colored and that on the left being variegated in hue. As the light passes from one to the other throne through the various channels between them, it becomes more powerful and stronger in its circulatory course, similar to the blood in the veins of the body. Such is the region on high that gives rise to the seven different colors which, in their totality and blending, constitute the great mystery of that unknown something termed light. There are also seven other different colored lights, which, on flowing together and thus becoming blended, form one great ocean of light which then streams forth from its seven different outlets; as it is written, 'and he shall smite it in its seven streams' (Is. xi-15.). Each of the seven outlets or streams becomes divided and forms into seven reservoirs, and each of these into the source or fount of seven rivers and which subdivide again and form seven brooklets; thus forming a vast circulatory system by which the waters of each separate and then meet again and become blended together."

I am sorry that I had to take the whole chapter, in order to be able to give the whole picture of the relevance to the topic here. The chapter is Rabbi Simeon's Analogies of the Divine Life in Man.
"I am not what happened to me, I am what I choose to become."
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Re: Colours

Postby Nokkonen » Tue Jan 13, 2015 3:38 am

Very interesting to read about what colors mean for other people! I wasn't surprised by how many people enjoy black and I consider that being my "base color" as well. Blacks, grays, and whites feel spiritually neutral to me which is why I like them, but more important factor in my personal daily color choices is to strive to harmony with my environment, although I suspect the matter also has its spiritual side. I never wear things that make me pop out of my surface like white or other bright colors, but I'm very comfortable in earthy tones of almost anything.

Then I've gone through some color "phases" that started when I was 15 and absolutely obsessed with a certain shade of dark indigo. All the new clothes I bought were of that shade. Then my colors changed to black, orange and red, green, and brown. Now I can see purple increasing its presence in my life and black is coming back. I don't really know why they change but they definitely have some significance and mark changes in my life.

For me, always, certain shades of blue have been the color of magic, the blue that a full moon casts on snow, and especially the deep twilighty indigo that's visible right after sun sets but the sky isn't yet pitch black. It always makes my spine tingle.
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Re: Colours

Postby Mimesis » Wed Jan 14, 2015 1:23 pm

In regard to the colours with which I resonate the most; enough has already been said to warrant anything I would add as repetition. In short however, for me it is predominantly Black, as well as White. Singularly, Black represents itself as the most natural and unifying way for me to present myself within the world of form; even in such a superficial way as clothing etc.
Jointly, both Black and White paradoxically include all and none of the entire colour spectrum, and both absorb and reflect light. Figuratively, they are shades that represent the light and the dark face.
I also hold coloured candles and the symbolic importance of their use in high regard.

Is anyone familiar with Alexander Scriabin? He was a Russian composer and pianist who was heavily influenced by Mysticism and Theosophy, and colour bore massive influence on his work. His system was based around Synesthesia, and he attributed certain colours to certain keys and tonalities.
Whether or not I agree with Scriabin is questionable, as he did somewhat contradict Synesthesia by according his experience of it with the Circle of Fifths, but this does not negate the interest of the importance and attribution of colour in his work.
Most importantly for me, Scriabin perceived the artist as someone with the potential of profound experience and expression, whose art must be a totality; of which colour forms a part.
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Re: Colours

Postby RaktaZoci » Wed Jan 14, 2015 2:44 pm

Nokkonen wrote:Then I've gone through some color "phases" that started when I was 15 and absolutely obsessed with a certain shade of dark indigo. All the new clothes I bought were of that shade. Then my colors changed to black, orange and red, green, and brown. Now I can see purple increasing its presence in my life and black is coming back. I don't really know why they change but they definitely have some significance and mark changes in my life.
I always remembered you as quite a dark character, possibly related to black, but of course this was back in the day where most people would probably have said the same of me too.

For me the most important colours have become to be red and green. The latter has always been my favorite colour, even though it hasn't really shows superficially. Black is something that still shadows me, obviously, but I do believe these new frequencies have started to take form..
Omoksha wrote: Is anyone familiar with Alexander Scriabin? He was a Russian composer and pianist who was heavily influenced by Mysticism and Theosophy, and colour bore massive influence on his work. His system was based around Synesthesia, and he attributed certain colours to certain keys and tonalities..
..Most importantly for me, Scriabin perceived the artist as someone with the potential of profound experience and expression, whose art must be a totality; of which colour forms a part.
Not familiar with the composer or his work, but I do find the issue of importance, that you mention. Most importantly, the connection of colours and tonality (music) integraded to the whole. I like to use music as a metaphor for emotive states, which I find both can be compared to one other. Also, many times certain kind of music creates different kind of mental images of colours present, sort of 'behind the music'.

For me relating to music is much easier and somehow more natural than to long texts, for example. Also it would be easiest for me to describe things, emotions, events ect. by comparing them to moods created by music, but of course this would demand the receiving party to be able to 'decode' the information. ;)
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Mimesis
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Re: Colours

Postby Mimesis » Sat Jan 17, 2015 2:18 pm

RaktaZoci wrote:
Most importantly, the connection of colours and tonality (music) integraded to the whole. I like to use music as a metaphor for emotive states, which I find both can be compared to one other. Also, many times certain kind of music creates different kind of mental images of colours present, sort of 'behind the music'.

For me relating to music is much easier and somehow more natural than to long texts, for example. Also it would be easiest for me to describe things, emotions, events ect. by comparing them to moods created by music, but of course this would demand the receiving party to be able to 'decode' the information. ;)
Absolutely, although I would go further than to simply ascribe metaphor to music; instead, I think it is a direct expression of emotion, with the potential to reach beyond ourselves. Whilst our own rational thought eventually plays a part into the sculpting of our expression, if done in unity with the whole on an honest spiritual foundation, our initial inspiration is received, rather than made, from beyond.
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Re: Colours

Postby RaktaZoci » Sat Jan 17, 2015 5:17 pm

Omoksha wrote: ...I think it is a direct expression of emotion, with the potential to reach beyond ourselves...
Agreed.
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Re: Colours

Postby Cancer » Mon Mar 16, 2015 12:11 pm

Light, bluish gray. It's the color of air and water, of transparent, almost immaterial things. The sky just before sunrise in summer, and the sea. I also connect it strongly with manas. Not kama manas (its color might be neon green), but specifically the more abstract intellect.
Nefastos wrote:[Black is] not only a colour, it's all colours together, the source & destination of them all.
Different colors turning into black - or white - can be seen as different paths for the personality to reach a decisive insight. Black itself could also be different depending on which of the colors it originates from. I once used the metaphor of blue darkening into black to describe a meditation technique.
Heith wrote:Black isn't the colour of evil (I think coral or peach might be)
I wouldn't have thought of that connection myself, but for some reason it has great appeal for me.
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