C
o
l
o
u
r
s
the
Formula
of
Light
C o l o u r s
the Formula of Light
This work is intended to provide a review with original conjecture on colour, in context of the esoteric philosophies as described by A. A. Bailey and H. P. Blavatsky. These pages will therefore be most accessible to those familiar with the concepts presented in their works, and no undue elaboration will be undertaken upon the theories commonly held in those writings.
This work may, however, be of interest to those unfamiliar with these doctrines, who wish to accept my assumptions and work with colour according to a comprehensive system (which may seem complex or obscure to the new investigator). If one were inclined to accept the basic premises, the information in the Practice Chapters could be utilized without the need for the philosophical background; the suggestions may be used in creating meditative or practical experiments for transformative personal, group, and global work, through visualisation or the physical application of coloured lights.
This is primarily a mental approach, with I hope some inklings of the intuition coming through occasionally (especially when the going gets excrutiatingly hard logically!) There is due background given and attention paid to exoteric optics and colour theory, as I believe knowledge of exoteric sciences may be fundamental to a well-rounded and logical system of thought around the esoteric nature of colour. I have not used an experiential or experimental approach in developing this material. I do not have any special sight or unusual sensing abilities. I do not even believe that I “see” or visualise colour mentally in ways common to other meditators or those with strong visualization faculties.
The style of writing will range from matter-of-fact exoteric science, to quoted references, to conjecture, pointed and circuitous questioning, sometimes coloured by exasperation! I use colour, bolding, and various font size in certain places, which I trust will not distract the reader but enhance a more vibrant and immediately accessible visual presentation of some of this apparently vague, contradictory, or ‘blinded’ material.
I have made assumptions of significances, emerging trends, original relationships and correspondences. These conjectures are the result of my research, objectively and subjectively surmised, unless otherwise stated. Chapter 8 outlines the major questions and problem areas surrounding esoteric colour philosophy as I understand them, whether they have been treated upon within the thesis or not. My only hope is that this treatise may be of some use, put to the test and furthered by peers and students.
I welcome your comments;
e-mail vsk@vicktorya.com
Vicktorya Stone
20 February 2002
To further the study of colour as presented by A. A. Bailey and H. P. Blavatsky.
To offer original charts, tables of correspondences, and compilations on this material.
To suggest some uses of colour that may be useful in consciousness transmutation, healing, or other applications.
To sketch the outstanding questions and problems in this field, and provide a comprehensive reference and compilation of the colour materials from AAB’s and HPB’s books, to provide assistance to other researchers.
Physical and Linguistic-Cultural Considerations
In the physical world, colour is a phenomenon of the impact of light upon the visual sense organs and its subsequent interpretation by the brain. Colour does not exist outside of the perception of an observer. Colour is therefore a purely physiological phenomenon; not a physical one. That is: there is not a physics of colour, but a physiology of colour. Thus, there is no colour ‘out there’; it is a product of our sense organs (eyes) and the interpretation of that by our brains.
While this is true, it does not diminish the fact that our perception of and interaction with colour has effect upon our inner psychological reaction. Additionally, knowledge of the physical behavior of colour is useful to place the esoteric treatment of colour in perspective of the physical or exoteric universe, and thereby find and create suggestive analogies and logical relationships.
In the physical sciences, colour theory is primarily based on the work of Sir Isaac Newton in 1665-66. More popular perhaps among the esoteric community is the colour theory work of Johannes von Goethe, who devised many interesting experiments with less scientific rigor but with perhaps created a more intuitively-based philosophical system for dealing with colour. While Goethe's work is suggestive, it is not discussed in this treatise. While Newton may be referred to as a reductionist, it is likely that he was an initiate of some standing, as the magnitude of his work testifies. Further, his divisioning of the spectrum into seven colours reflected his understanding of music and alchemy, and reinforces the esoteric doctrine’s assertion that form manifests through the archetype of septenantes. It is upon this basis, therefore, that we proceed.
From Newton's foundational works in optics, we commonly recognize the following names for the spectral colours, in the order of the rainbow or electromagnetic spectrum. These names highlight the crucial role of linguistics and cultural factor in colour research: Red, Orange, Yellow, Green, Blue, Indigo, Violet.
When we see, sense, imagine, think of, and speak of colour, we are conditioned by our particular language and culture. While each language has specific names for the various light frequencies that cause colour sensation, even in similar modern-western cultures we share no common one-to-one correspondence between languages and colour definitions. For instance, in Russian there are two words for (what most English-speakers or ‘westerners’ call) the colour blue. The sensations most English-natives identify as “light blue” and “dark blue”, Russian-speaking natives would call two distinct colours, each with different names. Similarly, in Hungarian there are two terms for what we normally include in “red”; in Japanese one word that covers green, blue, or all dark stimuli; Welsh has one word that means green, blue, grey or brown; and, many aboriginal and the New Guinea languages have only two terms meaning light and dark. (See Chapter 8, 1a, for notes on further study.)
In general, the one thing common throughout cultures is the recognition of colours in terms of temperature: "warm" or "cool". (This is effective in making distinctions even among those who are colour blind.)
However, the seven names for colour are those primarily used in the esoteric doctrines, and I believe some archetypal key is involved in their use. While other colour names are also used (such as turquoise, sapphire, ruby, azure, gold, rose, etc.), I believe their use is qualitative to the fundamental seven. Therefore, while for the purposes of this work we use these seven colours, we must not assume that there actually are only – or ‘as many as’ – seven colours, at least not according to the physical sciences or sociological conventions. There is no objectively recognized fixed number of colours. (Further, in the esoteric doctrines, we both told that during this major time period there are only 4 colours we can be sure of, as well as that there are myriads of colours unknown to us.)
Physiological Considerations
While there are three major receptors in the human eye (the often-called red, green, and blue cones), this neither implies that there are three major colours.
There is a continuum of wavelengths. Thus, depending upon the degree of minute measurement of the wavelengths, there could be defined ‘a different colour’ for every wavelength. With normal colour vision (i.e., healthy cone receptors) recognizing violet at around 400 nm to red which becomes invisible around 700 nm, we can at least say there are roughly 300 distinct wavelengths of colour – which isn’t to say each of these 1 nanometer differences could be discretely registered. However, this doesn’t take into effect the millions of recognizably different colours to the human eye, which result from combining and blending, shading and tinting, and other optical effects.
Most people do notice 4 distinct divisions of colour, that is, they perceive: red, yellow, green, and blue as colours distinct in themselves, and not due to blending. (This is regardless of whether people know that yellow and blue pigments make green, or, more sophisticated, that red and green light make yellow, in general these 4 colours impact most in the modern western world as distinct colours.)
In terms of our cultural use, colour is one of the first things we recognize about an object: "a red car"; "a yellow dress", "a blue bird". It is also a primary descriptor for emotional states, “he saw red”; “I felt blue”; “she was green with envy”; “they view the world through rose-coloured glasses.” In everyday language, colour adds a quality or 'feeling' to an object. Further, in our environments, it is now well recognized that the use of colours can assist people to feel more relaxed, or excited. Restaurant designers may propose the use oranges or reds to stimulate appetite; waiting rooms are often in subdued hues, relaxing blues or greens. Colours are also often referred to in terms of volume or texture, and interaction: “Those are very loud colours”; “She always wears soft colours”; “those colours clash”. The Fauvist artists were known for their use of wild colours, pushing the limits of conventional expectations about what colour was and how it should be used in painting. (See Chapter 8, 1b.)
While most of us in modern cultures derive beauty and emotional satisfication from the aesthetic use of colour, there is ample evidence that the biological development of our colour sense was likely due to the need to distinguish healthy food, in conjunction with the vegetable kingdom’s need to distribute seeds (in fruit-bearing trees). (See Chapter 8, 1c.)
With these few basic physical and cultural considerations in place, let’s begin to lay the foundation of the colour theory in the esoteric doctrines, and then we can more fully discuss its potential relation with the physical or exoteric evidence.
From Letters on Occult Meditation:
“… it is not yet permissible to give out the esoteric significance of [Page 213] these colours, nor exact information as to their order and application. The dangers are too great, for in the right understanding of the laws of colour and in the knowledge (for instance) of which colour stands for a particular ray lies the power the adept wields."
Yet the right correspondence and application of colour holds “the key to all knowledge”. From Letters on Occult Meditation, pages 222-223:
By the study of colours and the planes, by the study of colour and its effect and relationship to the life side, and by the study of the form side of the mind, will come much of value to the student of meditation, provided always he does three things:
1. That he seeks to find the esoteric colours and their right application to the planes and centres, to the bodies through which he manifests, and to the bodies through which the Logos manifests (the seven sacred planets); to the rounds and to the races, and to the cycles of his own individual life. When he can do this he holds in his hands the key to all knowledge.
2. That he endeavours to make practical application of all indicated truth …
3. That he remembers ever that perfection, as we know it, is only partial and not real, and that even perfection itself—as grasped by the mind of man, is but illusion, and that only the next logoic manifestation will reveal the ultimate glory in view. As long as there is differentiated colour there is imperfection. Remember, colour as we know it is the realisation by the man using a fifth root-race body in the fourth round on the fourth chain, of a vibration that contacts the human eye. What then will colour be as visioned by a man of the seventh round in a seventh root-race body? Even then a whole range of colours of wondrous beauty will be outside and beyond his comprehension. The reason being that only two great aspects of logoic life are being thoroughly demonstrated and the third will be but partially revealed, waiting for the still greater ‘Day be with us’ to flash forth in perfect radiance. …”
We begin with a conundrum: Colour holds the key to all knowledge, and the presence of colour indicates imperfection. All knowledge therefore is a state well below perfection, and this perfection will be a long time coming, (til the "Day be with us").
Let’s start with the framework that 'imperfection' is caused by an evolution much greater than ourselves, and is a demonstration of the One in Whom we Live and Move and have our Being (of at least Solar Systemic levels, and likely beyond). Our "logoic life" is imperfect, or coloured. He is evolving, and therefore working with the various coloured lives and levels of consciousness which make up his Being. Whatever we perceive or can know, or perfect, can only be achieved in relative terms, within the limits of His colouration. One’s colour is what distinguishes one from another.
The Ahamkara, or “I” principle, is what circumscribes the sense of a separated self, or distinct identity. Even in the archetypal realms of a grand septenate of colour, such a separated self as “indigo” is limitation upon that Whole, which if perceived as One would be colourless, or all colours blended into one white light. While we may rightfully strive towards absorption into the Great Ray Life of Blue-Indigo, or Love-Wisdom, or Two, the true blue of our Solar Logos, this is only temporary. It is a mark of, and indicator of, our specific level of our highest level of achievable imperfection.
The doctrines suggest we have come from the synthesis achieved in the first solar system, the Green system of Intelligence, are now in this Blue system of Love, and will eventually attain perfection upon the final expression of the future Power or Red system. At that time, this final, synthesis ‘solar system’ will blend the three and white light result, which is our goal of perfection (relative though that will also be in some grander scheme).
More locally, our planetary logos or local “god”, is evolving his particular colour. How do we find and cooperate with Him in his immediate stage of development? From the doctrines, His 7th purpose is intimately related to colour.
From The Rays and The Initiations, pages 241:
These seven types of purpose embody the seven energies which will reorganise and redefine the hierarchical undertakings, and thus inaugurate the New Age. ”...
So we have special need to focus on colour, because in cooperating with the purposes and methods of our Logos we may help inaugurate the "New Age" – a furthering of His, and our, evolution. Following, from page 246, we receive hints of this final phase or 7th purpose:
g. The final phase of the divine purpose is the most difficult of all to indicate, and when I say indicate, I mean exactly that, and nothing more definite and clear. Does it mean anything to you when I say that the ceremonial ritual of the daily life of Sanat Kumara, implemented by music and sound and carried on the waves of colour which break upon the shores of the three worlds of human evolution, reveal—in the clearest notes and tones and shades—the deepest secret behind His purpose? It scarcely makes sense to you and is dismissed as a piece of symbolic writing, used by me in order to convey the unconveyable. Yet I am not here writing in symbols, but am making an exact statement of fact. As beauty in any of its greater forms breaks upon the human consciousness, a dim sense is thereby conveyed of the ritual of Sanat Kumara's daily living.”
While we are a long way from the consciousness of our God, we find colour is a key method of power suggested for the aiding of evolution, for both the logos and the humble disciple.
While there are many more key quotes and foundational references, they will be included throughout this thesis. Let’s close this section with the following hint. From LOM, page 228:
… colours are the expressions of force or quality. They hide or veil the abstract qualities of the Logos, which qualities are reflected in the microcosm in the three worlds as virtues or faculties. Therefore, just as the seven colours hide qualities in the Logos, so these virtues demonstrate in the life of the personality and are brought forward objectively through the practice of meditation; thus each life will be seen as corresponding to a colour.
Law of Correspondences
The Law of Correspondences is the major tool in understanding what is known in one area to an area where less may be given or understood. So primary is this Law that it is prominent in the Introductory Postulates in A Treatise in Cosmic Fire, p. 7:
4. The Law of Correspondences will explain the details … This Law of Correspondences or of Analogy is the interpretive law of the system, and explains God to man.
I rely upon this Law to maintain logic in the realms of conjecture. If a proposition does not hold true, in the sense of being collaborated by natural systems and archetypal knowledge, then the proposition is at least out of context and not yet of use if not erroneous.
While at times we know that a certain example is not intended to be an exact reflection, that it is ‘analogous’ and not a direct correspondence, there are other instances when we are admonished that the correspondence, analogy, or correlation must be exact.
Principle of Mutation
As universe is a temporally evolving system, the “principle of mutation governs every department in the Law of Correspondences …” (page 600, TCF).
While something may be ‘true’ – when was it true? The primary struggle for this human mind has been to logically (correspondingly) place any conjectured relationships according to its rightful time, or point of evolution, and according to its correct level of consciousness. The complexity involved can suggest any number of ‘correct relationships’, yet the beauty (and agony) lies in finding the correct time and space in which to place that relationship.
Thus, in conjunction with the Law of Correspondences, the principle of mutuation must be constantly held in mind, for without the ability to place a relationship in its proper time or evolutionary context, we are unable to truly further advance this study. Right location and relationship, in time and space, will be what helps us determine our direction and next step.
Complexity, Synthesis, and Perspective
In realization of the complexity of this subject, perhaps the main offering of this treatise may be found in study of the correlated material, rather than in any depth of analysis or synthesis I offer. I shall recommend light-heartedly, therefore, that the reader remembers these lines: “We shall now come to a considerable amount of tabulation, for all that it is wise and possible to give at this time are certain facts, names and outlines which can only be demonstrated through the law of correspondence. The key to comprehension is always this law.”
Along with what will be much abstract conjecture, I also attempt to maintain obvious simple correspondences or analogies. For example, I think the key relationships are shown in the colours that surround us. The most esoteric of truths may be found reflected in the blue sky of day and the indigo of night, in the blue-greens of rivers and seas, from the vibrant yellow-greens of spring to the flaming oranges of harvest. Perhaps in these omnipresent reminders we are most easily shown the way.
Now let’s move into some exoteric science, to give us potential for informed supposition and suggestion, and then we will look into the esoteric fundamentals of colour.
If I may suggest to the reader that a review of the Chapter on Colour in Letters on Occult Meditation will prove invaluable to your understanding and discrimination of any research offered and conjecture proposed.
Early Light Theory
While the focus of this thesis is upon the esoteric doctrines, a basic knowledge of objective science allows coherent, insightful analogies to be made to the esoteric teachings. Some mention of scientific and esoteric doctrine differences will be mentioned here; however, this segment concentrates upon relevant exoteric topics, in abbreviated form. (Several references and images from Microsoft Encarta Encyclopedia and other public sources.)
The esoteric teachings indicate to us that the eye is one of the most significant features of man and that we may find great meaning in understanding its working, as science now unfolds. Early history of modern scientific knowledge of light and colour does not appear to reflect what we now know about the physiology of the eye. The latter part of this section will investigate what we know of the eye.
Apparently contrary to our current understanding, the Greek philosophers, including Pythagoras, believed light issued forth from visible things, and most also thought vision, as distinct from light, proceeded outward from the eye. Ptolemy experimented with optics, but he too believed vision issued from the eye. An early Egyptian scientist through logic and experimentation finally discounted the theory that vision issued forth from the eye. Other early Greek ideas were close to our modern knowledge, such as the idea that light travels with finite speed, and Aristotle explained the rainbow as a reflection from raindrops. Euclid understood the law of reflection and the properties of mirrors, and early thinkers observed refraction but did not explain its mathematical law.
Of course it may be hard to determine what was more esoterically known by early investigators, or that what we now believe is not erroneous in more subtle terms. E.g., that the faculty of divine vision was what caused the physical eye to evolve, and in that way vision issues forth from the eye. Be that as it may be, this segment will concentrate on the exoteric perspective, with some correlations to esoteric assumption.
Light traditionally refers to a frequency range of electromagnetic waves we see with our eyes, and call visible light. Color is our perceptual response to less than 1% (one percent) of the total electromagnetic radiation emitted by the sun. All electromagnetic waves (can) travel at the speed of light (roughly 186,000 miles per second in a vacuum, or exactly 299,792,458 meters per second). Light has been made to slow to as little as 38 miles per hour; as it travels at various speeds in matter.
The ethers
For esoteric context, let’s review excerpts from A.A. Bailey’s Light on the Soul (page 54 forward) so that we understand the ether, before taking up the specifics of the electromagnetic spectrum, scientifically considered.
As we know, Einstein proved that light can travel in a vacuum, and that the proposed ‘medium’ for its propigation, ether or aether, was unnecessary for light to travel. Thus the early scientific proposal of a required etheric medium required for the propigation of light has been disproved. However, esotericists may logically enough presume that there is still a more subtle form of energy which may be the truer, or higher subplanes of etheric matter of the ageless philosophies. In this light, I suggest the electromagnetic spectrum is directly associated with (4th subplane) etheric material, as the Tibetan states, the sun is 4th etheric matter and that the scientists in the latter part of the 1800’s and early 1900’s were working with this level. Most of the quotes in this segment are from scientists of that day, and so much be interpreted from their view of the then current thinking, which may have been as said, from an obvious assumption, “disproved”.
THE THEORY OF THE ETHERIC BODY
First: There is nothing but energy, and it functions through a substance which interpenetrates and actuates all forms, and which is analogous to the ether of the modern world. Matter is energy or spirit in its densest form, and spirit is matter in its most sublimated aspect.
Second: As all forms are interpenetrated by this ether, every form has an etheric form or etheric body.
Third: As the tiny atom has a positive nucleus, or positive nuclei, as well as negative aspects, so in every etheric body there are positive centres of force in the midst of negative substance. The human being too has an etheric body which is positive to the negative physical body, which galvanises it into activity, and which acts as its coherent force, holding it in being.
Fourth: The etheric body of man has seven main nuclei of energy through which various types of energy flow, producing his psychical activity …
Fifth: Only certain centres are now functioning …
There is a universal substance, the source of all, but so sublimated, so subtle that it is truly beyond the real grasp of human intelligence. In comparison with it, the most delicate fragrance, the dancing radiance of sunbeams, the crimson glory of the sunset, are gross and earthly. It is "a web of light," forever invisible to human eye. …
Subtle and fugitive as this universal substance is, yet in another sense it is denser even than matter. … If we could conceive of an agent outside of universal substance—an hypothesis contrary to all fact and possibility—and if such an external agent attempted to compress universal substance, or in some other way affect it from without, then substance would be found denser than any known material.
Inherent in substance, and a perpetual counterpart of it, is life, incessant life. Life and substance are one and the same, one and forever inseparable, but different aspects however, of the one reality. Life is as positive electricity, substance negative. Life is dynamic, substance static. Life is activity or spirit, and substance form or matter. Life is the father and begets, substance is the mother and conceives. In addition to these two aspects of life and substance, there is still a third. Life is theoretical or potential activity, and needs a field of operation. Substance furnishes this and in the union of life and substance, there flames forth active energy.
Thus we have a single reality, universal substance—but at the same time a co-existent duality—life and substance; and at the same time, a coexistent trinity, life, substance, and the resultant interaction which we call consciousness or soul. Matter is energy in its densest or lowest form; spirit is this same Energy in highest or most subtle form. So matter is spirit descending and debased; spirit, conversely, is matter ascending and glorified.
This is a direct correlation to Einstein’s discoveries that energy and matter are really the same, matter just being very inert energy, which can be converted to energy by squaring. Energy being related to Spirit or Life, and Matter to form, we read E = mc2 . (i.e.,
energy ‘may become’ matter when multiplied by the square of the speed of light
– to something like:
spirit ‘may incarnate’ into form when multiplied (densified?) by the personality by the soul.
The factor of squaring is a fundamental in the three-dimensional world, and correlates well psychically with the creation of the quaternary (the personality necessary to interact in the 3 worlds of human evolution) animated by the soul or the incarnating Light. Geometrists may correlate this to the squaring of the circle, by the triangle or trinity of the 1 Circle of Life. Thus, animal man, the square of matter, becomes infused with the Hu-man, the threefold Energetic Soul or Triad, and the ‘seven leaved plant or septenate of the incarnating soul is born. Seven is the archetypal number of Light manifesting Life into Form, and thus our archetypal spectrum is presented to us in the seven names of colour.
In taking on density, energy takes on, or descends into, seven degrees or planes. … Three subplanes of the physical are known to every school-boy—the solid, liquid and gaseous, for example, ice, water and steam. In addition there are four subtler planes, or rather four different types of ether. These four are co-existent with each of the three well known subplanes, and interpenetrate them. The etheric counterpart, whether of man or of any physical thing, is of the universal substance, of universal life, and of universal energy. It partakes of all of these but it is not self-sufficient or independently existing. It draws upon the reservoir of universal energy, and in it the etheric counterpart lives and moves and has its being. Energy is thus functioning through the etheric.
This 4th ether is both exoterically this realm of Light, and esoterically, the representative realm of energetic, soul light, on the physical plane. The 4th cosmic plane, the buddhic, is that of the Soul, characterised by light and colour, and through the Creative Hierarchies this is the realm of the Human Hierarchy and the Solar Angels. These are the Lords of Sacrifice, who, like Lucifer or Prometheus, bring fire to animal man.
This phenomenon of wavelengths therefore, that animate our physical realm, can potentially travel at the speed of Light (but not when) ‘in-forming’ the matter of our bodies and environment, as the carriers of soul energy. These wavelengths, built on a dance between electricity and magnetism, meet at the midway point, the 4th or particularly human realm, and permeate the denser planes with the spark of light, the animator or energizer of form.
Sir Isaac Newton … "And now we might add something concerning a certain most subtle spirit which pervades and lies hid in all gross bodies; by the force and action of which spirit the particles of bodies mutually attract one another at near distances, and cohere if contiguous; and electric bodies operate to greater distances, as well repelling as attracting the neighbouring corpuscles; and light is emitted, reflected, refracted, inflected, and heats bodies; and all sensation is excited, and the members of animal bodies move at the command of the will, namely by the vibrations of this spirit … But these are things that cannot be explained in few words, nor are we furnished with that sufficiency of experiments which is required to an accurate determination and demonstration of the laws by which this electric and elastic spirit operates."
[from the 1926 edition] of the Encyclopaedia Britannica … under the heading of "ether." … from time to time attention has been directed to the intervening portions of space from which sensible matter is absent; and this also has physical properties … These physical properties do not appeal directly to the senses, and are therefore comparatively obscure; but there is now no doubt of their existence; even among those who still prefer to use the term space. But a space endowed with physical properties is more than a geometrical abstraction, and is most conveniently thought of as a substantial reality, to which therefore some other name is appropriate. The term used is unimportant, but long ago the term ETHER was invented; it was adopted by Isaac Newton … [it] connotes a genuine entity filling all space, without any break or cavity anywhere, the one omnipresent physical reality, of which there is a growing tendency to perceive that everything in the material universe consists; matter itself being in all probability one of its modifications.... The properties of the ether are not likely to be expressible in terms of matter; but, as we have no better clue, we must proceed by analogy, and we may apologetically speak of the elasticity and density of the ether …
"We do not usually attend to the ether aspect of a body; we have no sense organ for its appreciation, we only directly apprehend matter. … We know that a body of characteristic shape, or indeed of any definite shape, cannot exist without the forces of cohesion—cannot exist therefore without the Ether—meaning … the unmaterialized part of it, the part which is the region of strain, the receptacle of potential energy, the substance in which the atoms of matter are embedded. Not only is there a matter body, there is also an ether body: the two are coexistent."
“… Light is an affection of the ether. Light is to ether as sound is to matter ... Subject to all the laws of time and space, fully amenable to the laws of energy, largely the source of terrestrial energy, governing all the manifestations of physical forces, at the root of elasticity and tenacity and every other static property of matter … Electric charges, composed of modified ether, are likely to prove to be the cosmic building material.... There is the great bulk of undifferentiated ether, the entity which fills all space and in which everything material occurs. A duality runs through the scheme of physics—matter and ether.
All kinetic energy belongs to what we call matter, whether in the atomic or the corpuscular form; movement or locomotion is its characteristic. All static energy belongs to the ether, the unmodified and universal ether; its characteristics are strain and stress. Energy is always passing to and fro from one to the other—from ether to matter or vice versa—and in this passage is all work done.
Now, the probability is that every sensible object has both a material and an etherial counterpart. One side only are we sensibly aware of, the other we have to infer. But the difficulty of perceiving this other side—the necessity for indirect inference—depends essentially and entirely on the nature of our sense organs, which tell us of matter and do not tell us of ether.
Science admits it can only determine the existence of observable, natural objects – those which we have instruments, or organs, to perceive. (See Chapter 8, 1d). Thus, the higher ethers may simply be yet unregisterable by common appliances or organs; however, the 4th etheric subplane (of the cosmic physical plane) is exactly what we understand scientists to have been working with early last century (according to A.A.Bailey’s writings). These include all the phenomenon of electricity, xrays, the cosmic rays, etc.:
Ether belongs to the physical frame of things, no one supposes it be a psychic entity; but it probably subserves psychical purposes, just as matter does. … It is invisible, permeates all matter and pervades all space by wave motion, without limit in the universe. It offers practically no resistance to radiant energy, even to light from the sun and the most distant stars discovered. It is the medium which transmits `radio' waves, wireless telegraphy waves, cosmic rays, X-rays, etc.
With this argument of the reality or rarity of the ether admitted, let’s condition our thinking with current scientific evidence and terms, making esoteric correlations where logic and the scope of this paper dictate:
Electromagnetic
waves (EM)
Scientifically considered, these are characterized
by wavelength, frequency, and amplitude; these determine the type of
energy, or what we call variously gamma rays, visible light,
infra-red, etc.
Wavelength is measured from crest to crest. Frequency is the number of times a wave propigates (crest to crest) in one second (which is usually measured in Hertz, Hz, but electro-magnetic waves of extremely high frequencies, such as light and X rays, are usually described in terms of angstrom units, Å is a hundred-millionths of a centimeter). Amplitude is the height of the wave (from midway between a peak and a trough to the peak of the wave), which relates to the strength of the fields and number of photons in the light.
Light behaves both as a wave and as a particle. The particles are photons, like packets of light energy, but not like ‘fixed’ particles as they are not limited to a specific volume in space or time. Photons are associated with specific frequencies of electromagnetic waves.
Electromagnetic waves are non-mechanical, in that they do not move the material through which they pass. EM waves are a displacement of the electric and magnetic fields of force in space or a vacuum. Non-mechanical waves can be propagated in “matter”, but do not require a medium, unlike mechanical waves. (This difference is illustrated in the segment on colour and sound.)
All electromagnetic, non-mechanical waves are, as the name implies, a compound of electric and magnetic waves, traveling perpendicular to each other. They wrap, or warp, around each other: an electric wave moves forward, the magnetic wave whips around it, followed by the electric wave, etc. Light is carried on electric and magnetic fields, thus:
Light expands spherically, i.e., light particles or photons traveling on the electromagnetic waves expand outward from its source in three dimensions (in a vacuum or uniform material) in a spherical pattern (like a balloon expanding). Each point on a wave surface can act like a new source of smaller spherical waves (which explains how light seems to spread away from a pinhole rather than going in one straight line through the hole. The same effect blurs the edges of shadows.)
Polarization refers to the direction of the electric field in an electromagnetic wave, e.g., a wave with an electric field oscillating in the vertical direction is polarized vertically. If a wave’s electric field is vibrating in all directions, it is said to be unpolarized, such as the waves from the sun. Sunlight reflected from a surface is partially polarized parallel to the surface.
Sources of light differ in how they provide energy to the charged particles, such as electrons, whose motion creates the light. Incandescent sources provide energy from heat; luminescent sources provide energy from chemical or electric energy:
In an incandescence light source atoms collide, transfering energy to electrons, boosting them into higher energy levels. Electrons release this energy by emitting photons. Some collisions are weak and some strong, so photons of different energies are emitted.
The sun is an incandescent light source with its heat energy released from nuclear fusion. Different stars emit incandescent light of different levels or frequencies—and therefore appear as different colours—depending on their mass and age. All incandescent (thermal or heat) sources have a broad spectrum, meaning they emit photons spanning a wide range of energies.
The colour from incandescent sources is related to their temperature, with hotter or more energetic sources having more blue in their spectra, or ranges of photon energies, and cooler or less excited sources having more red. To repeat: hotter sources emit more blue light (which reflects the more rapid, intense or stronger frequency of collision of atoms); cooler sources emit more red light (due to less intense collision).
A luminescent light source absorbs energy in a non-heat manner and is therefore usually cooler than an incandescent source.
The color of a luminescent source is not related to its temperature. A fluorescent light is a type of luminescent source based on chemicals called phosphors. As electricity passes through the tube it excites the mercury atoms and makes them emit blue, green, violet, and ultraviolet light. Phosphor electrons absorb ultraviolet radiation, release some energy to heat, and then emit visible light with a lower frequency (i.e., violet, blue or green frequencies). The high latitude auroras are luminescent sources, created due to electrons in the solar wind becoming deflected in the earth's magnetic field.
Chemiluminescence is a chemical reaction that produces molecules with electrons in excited energy levels that then radiate light. The color of the light depends on the chemical reaction. Chemiluminescence in plants or animals is bioluminescence, which is manufactured in substances called luciferase and luciferin, which combines with oxygen.
A laser (Light Amplification by Stimulated Emission of Radiation) produces light that is polarized, monochromatic, and coherent: all the electrons radiate synchronously so the peaks and troughs coincide over long distances.
White light and sunlight, like most light sources, do not radiate monochromatic light. What we call white light (including light from the sun) is a mixture of all the colors in the visible spectrum, with some represented more than others. Daylight, or other nearly whole-spectrum or ‘white light’ environments (certain types of incandescent bulbs, for example), displays all frequencies of the visible light spectrum; i.e., the range from red (the longest wavelength frequency the human eye can detect) to violet (the shortest wavelength visible to the eye). When all of these are perceived together our sensory experience is of ‘white light’. White light therefore is not homogenous (of one frequency), but heterogenous (a composite, made up of many different wavelengths).
Sunlight is close, but not identical to a white light spectrum. Sunlight has more EM waves in the medium length (yellowish) frequency. Remember, this is the visible light waves, and only about half the energy of sunlight at the earth's surface is visible, about 3 percent is ultraviolet, and the rest is infrared. One way stars are classified is by their spectral signature; our sun is considered a yellow star. Most accurately, it emits most the frequencies perceived as yellow-green. Therefore, everything ‘under the sun’ is coloured by its quality of light.
During the middle of the day, there is a distinct blue bias to sunlight. We see this in the color of the sky. At this time ultraviolet radiation (roughly 290nm to 400nm) is strongest (and causes the energetic effects such as sunburn, fading paints and fabrics). At sunrise or sunset, the sun's light passes more obliquely through the earth's atmosphere, and filters out more of the shorter ("blue" and "green") wavelengths and the light has a red bias, as we see in the sunrise and sunset.
Prisms Splitting the Spectrum
Once full spectrum, or white light is split in a prism, there is no further subdivisioning into ‘sub spectrums’. For example, red or long wave radiations do not further subdivide into anything other than red; e.g., the 700 nm wavelengths are 700 (red) no matter how many times they pass through a prism.
This concept tells the esoteric investigator that a subray of a primary ray, e.g., the green subray of indigo, cannot occur in exoteric science. Once indigo is split or separated from the spectrum, it does not change its frequency, i.e. our perception of its colour. It may however be recombined with other frequencies to create other apparent colours, but a 700, red, frequency does not ‘sub-spectrum’ or division into ‘fractals’ of a prism.
The longest wavelength most humans see is deep red at about 700 nm. The shortest wavelengths normally detectable is violet, at about 400 nm. Human eyes respond the most to a yellow-green light, at 550 nm, which is about the brightest color in sunlight at the earth's surface.
A prism, or rainbow, refracts the full spectrum of white daylight so that the various coloured frequencies are distinguishable to the eye. If we analyze white light when split by a prism or rainbow, we see it is made up of this range of colours which we commonly term red, orange, yellow, green, blue, (indigo), violet, as described above. All light is reflected into the eye in “white light”.
Detecting light depends on how the light was produced and what is the medium or organ of reception or detection. For example, as heat produces incandescent light, this light produces measurable heat when it is absorbed by a material or sensed on the skin. In a photoelectric effect, atoms absorb photons and part of the photon's energy goes toward releasing the electron from the atom and part goes to transferring the released electron in the form of motion, or kinetic energy. The detection process is the change induced in photographic film exposed to light, which induces a chemical change in photosensitive chemicals on film. The film is then processed to convert the chemical change into a permanent image. Human vision works somewhat similarly: light of different frequencies causes different chemical changes in the eye, the chemical action generates nerve impulses that our brains interpret as color, shape, and location of objects.
Interaction with matter causes light to behave variously. When light strikes a material or object it interacts with the atoms in the material, depending upon the frequency of the light and the atomic structure of the material. In transparent materials, the electrons in the material vibrate while the light is present. This oscillation momentarily takes energy away from the light and then puts it back. Materials that are not completely transparent either absorb light or reflect it. In absorbing materials, like a dark cloth, the energy of the oscillating electrons does not go back to the light but toward increasing the motion of the atoms: i.e., the material heats up. In reflective materials, such as metals, the light is re-radiated, which cancels out the original wave, and only the light re-radiated back off the material is observed. All materials exhibit some degree of absorption, refraction, and reflection of light.
Refraction is the bending of light when it passes from one kind of material into another. Light is not traveling at the speed of light when in matter, such as earth’s atmosphere, but light takes the shortest, or fastest path. It works according to the “Principle of Least Time” that means a light ray passing through different media will refract so as to minimize the time it takes the ray to travel between points a and b. Since light travels at a different speeds in different materials, when it changes speeds at the boundary between two materials, light on the side of the beam that hits first is slowed down or accelerated before light on the other side of the beam hits the new material. This makes the beam bend, or refract, at the boundary. This produces the familiar colorful rainbow spectrum seen when sunlight passes through a glass prism.
Red light, due to its longest wavelengths, bends the least, and the shorter violet wavelengths of light bend the most. Esotericists could view this like red and orange lights are less affected by the medium, while the blue and violet wavelengths are more adaptive or affected by the density of matter.
Reflection occurs when light hits the boundary between two materials: some of the light is reflected back into the first medium. If light strikes the boundary at an angle, the light is reflected at the same angle (like a ball’s bounce). Light reflected from a flat boundary, such as the boundary between air and a smooth lake, will form a mirror image.
Diffraction is the spreading of light waves as they pass through a small opening or around a boundary. As a beam of light emerges from a slit, the light some distance away from the screen will consist of overlapping wavelets from different points of the light wave in the opening of the slit. When the light strikes a spot on a display screen across from the slit, these points are at different distances from the spot, so their wavelets can interfere and lead to a pattern of light and dark regions.
Scattering occurs when the atoms of a transparent material are not smoothly distributed. The sky is bright because the variously distributed air molecules and dust particles scatter the sunlight. Light with higher frequencies and shorter wavelengths (the violet and blue end of the spectrum) is scattered more than light with lower frequencies and longer wavelengths (red end of the spectrum). Therefore, the atmosphere scatters violet light the most, but since human eyes do not see this color that well, the eye notices more the slightly longer blue wavelength, the next most scattered color, and we therefore have a ‘blue sky’. Sunsets look red because the sunlight traveling along the horizon travels a longer distance or thickness of atmosphere, and the thicker layer of air and dust scatter the blue to even longer wavelengths of the warmer yellows and reds.
Interference is when lightwaves overlap. Constructive interference is when the peak of one wave is aligned with the peak of the second wave, then the two waves will produce a larger wave with a peak the sum of the two overlapping peaks. Destructive interference is when the peak of one wave is aligned with a trough of the other, then the waves tend to cancel each other out, producing a smaller wave or no wave at all.
Holography is an application of interference. A hologram is made by splitting a light wave in two with a partially reflecting mirror. One part of the light wave travels through the mirror and is sent directly to a photographic plate, the other part is reflected first toward a subject and then toward the plate. The resulting photograph is a hologram. Instead of being an image of the subject, it is an image of the interference pattern between the two beams.
If we begin with the esoteric perspective, we may wish to consider, as repeated from the earlier long quotation on the ethers from Light on the Soul, from Sir Oliver Lodge: “… Light is an affection of the ether. Light is to ether as sound is to matter ...”
However, a recall of the nature of waves will help us understand the crucial distinction in exoteric science between light and sound, which make the two qualitatively and behaviourly different to each other. Sound and colour may perhaps, in some fashion be analogous or even ‘married’, but for this to be exoterically demonstratable, it would require crossing the time, or light barrier.
The primary distinction is that sound waves travel significantly slower than light waves: between 331 meters per second to 345 – as opposed to light’s roughly 300 million meters per second. The speed of sound varies according to temperature and moisture (slower in cold and dry and gasses; faster in hot and moist and liquids).
Another key difference is that light is a non-mechanical and sound is a mechancial wave, so that rather than interpreting the two as ‘octaves’ of each other as one may do in esoteric science, sound waves (like waves in water) require and disturb the medium through which they travel by compression and rarefication of the matter.
A longitudinal wave, as it travels through air, compresses and expands the molecules in the air in the same direction that the wave travels – they shift forward and back, horizontally. A transverse wave is like ripples on the surface of a pond, where the water is displaced vertically while the wave itself travels horizontally – the water molecules do not move side to side, but up and down. The behaviours of sound, and all mechanical waves, do have correlation to electromagnetic light waves in terms of refraction, reflection and interference. In this sense at least we have solid evidence for good correlations to be usefully made between the two wave methods, and within the esoteric philosophies.
One popular area of relating colour and sound via electronically programmed machines that produce a certain colour or patterned movement of colour effects when sound is made. This however is a simple assigned association, not a relational one, nor in any way indicative of a cause-effect relationship between sound and colour, exoterically considered.
In the esoteric and new age communities, relating notes to colours are of interest, but not scientifically correlatable. For instance, the esoteric fact that “fa” is ‘related to’ green, cannot be substantiated by scientific experiments. If we wish to assume that sound creates colour, or vice versa, we must do so outside of a way which is yet understood, or understandable, to scientific methodology.
Sound (in terms of the esoteric doctrines) must mean somethings other than sound as we call it on the physical plane (as must Light and Colour). We speak of the ‘inner voice’ and realize it is not necessarily meant as a voice audible to our physical ears, but some effect upon the ‘inner ear’, esoterically understood. Similarly, we may need treat esoteric understanding of colour in the same context; not necessarily as relevant to the optical function of the eye, but associated and significant to ‘inner sight’.
Another esoteric correlative area of interest is the notion that humans hear sound and see colour, and devas see sound and hear colour. As science isn’t yet able to register devas with instruments either(!), this area will be touched upon in Chapter Two, Section 2.3. There are other factors which also relate sound and light to the planes, and treat sound as primary to light or colour, and it too will be addressed later.
As we move into the next section, I’ll insert this reminder from the Tibetan, suggesting our own research into scientific knowledge, and the illusory nature of sensory perception, from the soul’s perspective:
Vibration: Some students make demand that I define what is the meaning of the word "vibration" and state exactly what a vibration is. If I tell you that vibration is an illusion, as sensory perception is known by the soul to be, do you comprehend (limited as all human beings are by the reactions of a series of vehicles, all of them instruments of perception) ? If I tell you that vibratory reaction is due to our possessing a mechanism which is responsive to impact, I am answering your question in part, but if this is true, what does it mean to you and from whence comes the impact? If I give you the scientific definition (which you can discover in any good textbook on light, colour or sound), I am doing work that you can do yourself, and for that I have no time.
In the ageless philosophies, the Masonic quest, and the search for Light, well suggests that man is uniquely developed to perceive light. The development of vision is also characteristic of this wave of human development, the 5th or Aryan Race, and so the themes of illumination and the Greatest Light relates us to the mystical quest. And it is also true that the evolution of the physical form developed to be sensitive to coloured light, based on some logical biological needs, such as distinguishing ripe food in the vegetable kingdom.
Here follows the scientific background on the eye and the creation of its illusion, vision, including some correlations to esotericism as may be useful.
Colour vision means that an animal (including human!) has a sense organ (such as an eye) that can discriminate light stimuli on the basis of spectral content (different wavelength frequencies). The animal must have at least two receptors (e.g., cone cells) sensitive to different wavelengths of light in order to distinguish any difference in colour.
The colour that we perceive of an object depends on the spectral makeup of the light impacting the object. If the frequency of the light changes, so does our perception of the colour of the object. The same object therefore will appear different depending upon the type of illumination.
Matter and energy are colourless; colour exists only in the observer’s perception: the visual system receives input and the brain creates colour perception as output. depending on the context in which the light is viewed. For example, a red-pigmented object can, depending on the light impacting it, appear red (in ‘white light’), or scarlet, crimson, pink, maroon, brown, gray or black! This is fundamental: there is no colour “out there”; colour is in the mind.
Additionally, and with good esoteric reference, simply detecting the presence of light does not offer distinction or differentiation. It takes two (at least a duality, if not a triplicity or quaternary) to create colour: i.e., two cones of differing sensitivity. Perceiving difference, contrast, design, colour, are aspects considered integral to perceiving beauty. The polarity or circulation between two or more is what allows the perception of distinction.
Additionally, the human eye only (normally) perceives ‘visible light’. (We are not yet here considering the proposed ‘etheric vision’; however, let’s review a comment from the esoteric doctrines, in order to place the physiological nature of perceiving etheric vibration.
"This registering of light within the periphery of the skull is connected with the relation to be found between the head center and the center between the eyebrows; that is between the area (localized around the pituitary body) and that localized around the pineal gland. The vibratory effect...of those two centers can become so strong that the two vibrations or their pulsating rhythmic activity can swing into each other's field of action and a unified magnetic field can be set up which can become so powerful, so brilliant and so pronounced that the disciple - when closing his eyes - can see it plainly. It can be visually sensed and known. Eventually, and in some cases, it can definitely affect the optic nerve, not to its detriment by to the extent of evoking the subtler side of the sense of sight. A man can then see etherically, and can see the etheric counterpart of all tangible forms. This is physiological and not a psychic power and is quite different to clairvoyance. There can be no etheric vision apart from the usual organ of vision, the eye." Esoteric Psychology II, p. 607-8.
Etheric Vision as defined in the esoteric sciences is a function of the physical eye which will enable humanity to see into the 4th ether, at least. It anecdotally occurs among many psychically or spiritually-developed people, children, and some individuals with psychotic diseases, but this phenomenon is not documented or recognized by mainstream science, either within the realm of possible physical vision, or as an evolving or mutant development of sight.
The distinction between (physical) etheric vision to (astral) clairvoyance should also be kept in mind. Etheric vision is considered an inevitable and natural evolutionary development of the physical eye. Astral clairvoyance is an ‘inner sight’, not a function of the human eye, and involves ‘seeing’ entities, thoughtforms, or less organized effluvia on the astral plane. The other esoteric planes of ‘sight’, include this sense on the mental, buddhic and atmic planes, respectively called “high clairvoyance”, “divine vision”, and “realization”. Light in terms of seeing a “light in the head” is considered by the Tibetan as a phenomenon affects the physical body through the glandular system. (see Esoteric Psychology II, p. 611-2)
Structure of the eye
The diagram below shows the eye, The eyeball is spherical with the outer part made up of three layers of tissue: 1) the outside is the sclera, a protective coating; 2) the middle layer is the choroid which contains the iris; and 3) the innermost layer is the light-sensitive retina.
GRAPHIX
GRAPHIX
1. The outer cornea is tough and has five-membrane layers through which light enters to the interior. Behind the cornea is a chamber of clear, watery fluid, the aqueous humor, which separates the cornea from the crystalline lens.
2. The middle layer contains the iris or pigmented ‘colour of the eye’, which lies behind the cornea, in front of the lens, and has a circular opening in its center, which is the ‘black’ pupil. The pupil dialates or contracts based upon how much the cilliary, a ring-like muscle, relaxes or constricts in response to the amount of light admitted to the eye. Behind the lens the main body of the eye is filled with a transparent, jellylike substance, the vitreous humor, enclosed in a thin sac, the hyaloid membrane.
3. Inside the eye is the sensory or light-sensitive cells of the retina. Directly behind the pupil is a small yellow-pigmented spot, the macula lutea. In the centre of this is the fovea, the area of greatest visual acuity. The central area of the fovea is packed entirely of cone-shaped (colour sensitive) cells. Moving outwards from this central area of highest sensitivity are both rod-shaped and cone-shaped cells, and towards the periphery of the sensitive, reflective area of the retina, there are only rod-shaped cells. Therefore colour-sensitive cells are necessary for the greatest perception of detail, with the more general distinctions of light and dark being more periphereal.
The optic nerve enters the eyeball below and slightly to the inner side of the fovea. At this juncture there are no light-sensitive cells, and this area forms the “blind spot”, as nothing can be seen if it strikes this area of the eye. The optic nerve is the channel upon which the cellular information transfers to the area of the brain that calculates and then interprets the stimuli as visual and colour sensation. Interestingly, the part of the brain that processes colour is in a different region of the cerebral cortex from the area that handles other types of visual information.
Eye and the Indwelling Energy; Physiological Symbology
Here is an excerpt from Esoteric Healing, p. 572, about the optic nerve and structure of the eye, and the relation to the threefold man to threefold deity.
As occult knowledge increases a whole science of energy distribution will be built up around the eyes and their symbolic function, and their esoteric use will be understood. The time has not yet arrived for this, though already the power of the human eye when focussed on a person, for instance, is known to attract attention. One hint I can give you: the optic nerve is a symbol of the antahkarana, and the entire structure of the eye ball is one of the most beautiful symbols of the threefold deity and the threefold man.
Perhaps other insights into the distinction of man to animals may similarly be found in the investigating the physioilogy of the eye. The eye of other vertebrate animals are similar to the human. However, nocturnal animals have predominantly or only rod cells (and therefore they lack detail and colour vision); however, the cells are more sensitive and more numerous than in humans. The eye of a dolphin has 7,000 times as many rod cells as a human eye, enabling it to see in deep water. Birds’ eyes are elongated from front to back, permitting larger images of distant objects to be formed on the retina. (The investigation of reptilian eyes may well repay the esoteric investigator, of especial interest may be research into the New Zealand Tuatara and its retention of a functioning third eye.)
Function of the Eye
In general, eyes act like simple cameras: the lens of the eye
forms an inverted image of objects on the sensitive retina which
corresponds to the film in a camera. Review of optics and convex and
concave surfaces and focal length may repay the reader: basically, a
convex (rounded outward) lens inverts images onto the surface behind
it. However, the eye is not as precise as a camera, actually
producing a yellowed, chromatically aberrated, fuzzy image, but
again, the brain’s interpretative capacity makes the image
sharper. And, the retina is not like photographic film but more like
a computer network of 200 million layered and highly-specialized
nerve cells that collect and process visual information, sharpening
and filtering the image, and synthesizing
color information, before sending it on to the brain.
Reception of Photons in the Eye: Rods and Cones
As the photoreceptor cells, the rods and cones, are what absorb photons, let’s take a detailed look at them. Rods and cones are arranged perpendicular to the back of the eye so that each photon must pass through all these layers, which increases the probability that photons will strike one of the 10 million or so photo-pigment molecules in each receptor cell. These photo-pigment molecules are the actual agent of vision; they are the transducers that turn photons into nerve impulses.
Each photo-pigment molecule is looped seven times through pads in a membrane. The chemical effect of light is that it straightens a segment of an amino acid chain. Intertwined with the photo-pigment is a chromophore molecule that twitches or twists when the photo-pigment is struck by a photon. Any twitch in a chromophore creates a nerve impulse in the membrane, which is the first response to light. As more photons strike the chromophores, there is more reaction by the nerve, and the intensity of light sensation increases. Vision is, so to speak, a form of touch fused into a dense, three-dimensional array of light sensitive molecules.
GRAPHIX
The rods perceive intensity of light, and cones perceive the various wavelengths. There are normally three types of cones in a human eye, which are responsible for three levels: blue-violet short wavelengths
green medium wavelengths
orange-red long wavelengths
These are commonly called blue, green or red cones, but more accurately they are individually sensitive to roughly these frequencies:
short or "blue" cones (B, most sensitive to "blue-violet" wavelengths around 435 nm).
middle or "green" cones (G, sensitive to "green" wavelengths at around 530 nm);
long or "red" cones (R, actually most sensitive to "greenish yellow" wavelengths around 565 nm)
The following diagram of cone sensitivity shows that these three levels of sensitivity are not evenly spaced across the spectral bandwidth.
GRAPHIX
What we call the ‘green’ and ‘red’ cones, are actually very closely related and are sensitive to light waves that are similar to each other. In terms of their peak sensitivity (530 and 565, respectively), they could be called the green and yellow cones (not green and ‘red’).
Remember though that all cones should be considered ‘colour blind’ in the sense that they are simply sensitive to a band of wavelength, not to a colour, and it takes at least two cones, sensitive to different bands of wavelength, to provide enough information so that the brain can interpret separate colours. The perception of colour is based upon the information from two ‘viewpoints’, or different cells.
Red and Green
Defects in red-green vision are usually sex linked, because while the gene for blue-violet is located on chromosone seven, the other two (red and green) are far away from blue, but near one another on the X(sex) chromosone. Red-green color blindness occurs when the Rho and Gamma sensitivity curves are exactly overlapped or if there are an insufficient number of either of these red or green sensors. Roughly 40% of the amino acids are identical; however, red and green pigment’s amino acid sequences are 96% identical, suggesting they diverged relatively recently in evolution.) Since women have two X chromosones, the likelihood of problems in both sex chromosones is much less than in males, and thus women seldom have colour blindness.
The differences between males and females in potential for evolutionary change in the visual system is marked and curious. Colour blindness is about 12% (twelve percent) in European males, and negligible in females. One of the tasks in which colour-deficient men are severely handicapped in is picking ripe fruit. While for hunters, or for man living in urban environments, this is not a too dangerous trait, in fruit-eating primates it could have been deadly, if not sorely inefficient.
Day and Night Vision
The eye sees with greatest clarity in the region of the fovea in the retina, as this is where the greatest concentration of cone cells exist. Cones are colour sensitive and individually connected to other nerve fibers, so stimuli to each cell are reproduced directly and fine details can therefore be distinguished. Conversely, the more general, light-sensitive, rod-shaped cells, are connected in groups so that they respond to stimuli more generally. The rods, therefore, respond to minute light stimuli, but do not separate small details. This is why dim objects can be seen at night in peripheral vision more than when looking directly ahead.
In daylight, we see colour well, but after about ten minutes of low illumination, our eyes become ‘dark adapted’ and the cones stop responding, which is why we lose color vision at night, except for isolated points of stronger illumination (distant stoplights or Mars).
Seeing at night involves sensitization of the rod cells by a pigment called visual purple or rhodopsin (formed within the rod cells). Visual purple is bleached by the action of light and must be reformed by the rod cells under conditions of darkness, which is why someone coming from sunlight into a dark room cannot see until the pigment begins to form. The eye is then able to perceive in low light levels and is dark-adapted. Another type of brown pigment in the outer layer of the retina protects cone cells from over-exposure to light. If bright light strikes the retina, granules of this pigment migrate around the cone cells, shielding them from the light. This is called light adaptation.
The following graph shows the spectral sensitivity of the rods, which is peaked at yellow-green. This is in distinction to what we may intuitively or societally presume to be the blue light of shadow (such as motion pictures portray moonlight). However, as all rods share the same spectral selectivity characteristics and thus cannot create specific colour information, any portrayed colour for low light is as good as the next, but most accurate would be a blurry black and white image. Yellow-green is simply the brightest, most illumined segment.
GRAPHIX
Our visual system has greater sensitivity in low illumination, but the cones contribute little or no sensitivity in this condition. Imaging is primarily accomplished by the rods when illumination levels are very low. In daylight, rods are largely "switched off" because their photo-pigment rhodopsin is continuously saturated by light. Rods however can skew the perception of normal colour. They are most affected by frequencies of around 500 nm ("blue green"), and therefore, especially during the daytime when this band of the spectrum is strong, the rods can become activated and shift apparent colours toward bluish green. We can observe this most readily when spending time in the sun, and then looking at colourful orange and red objects, such as a flower bed or bright prints, and notice their dullness or lack of ‘saturation’.
Biological Evolution of the Eye; past and future
As mammals, we only share good spatial and full ‘normal’ tri-chromatic colour vision with Old World monkeys and apes, but daytime birds and surface-dwelling (coral reef) fish also have good full colour vision. However, tri-chromatic cones may be the exception and not the rule. This is not a clear area of concensus, and tetrachromats (4 cones) is not unlikely.
The first cone cells developed are believed to be those that are sensitive to the middle band of wavelengths, or what we call the green cones. (These also provide sufficient information by themselves for most mammals who rely on vision during the daytime.) Theory holds that each type of cone cell developed at different stages in evolution, for different purposes. For example, the second or ‘red’ sensitive cone gene co-evolved with a class of tropical trees that had fruits, too large for birds to take, and that were of a yellow, orange or red colour when ripe (apples, oranges, lemons, etc.) Thus the tree is offering information of ripeness only to those animals able to distinguish colours in this range. The cooperation of the vegetable (the 2nd kingdom) with the (development of the visual system of the) animal and budding human kingdom provides interesting food for thought!
Of note, some researchers suggest a 4th cone, called "orange" (O) sensitive to wavelengths (around 590 nm – therefore sensitive more to long wavelengths than Red cones, may be as prevalent as up to 50% in women (10% of men or about 32% of all people). (Obviously the research isn’t being aggressively investigated!) The assumption is also untested, in that there is various assignments of the new cone being inbetween red and green, or, as suggested above, 590, which is to the further side of red.
Whichever this case may be, both reinforce the assumption that there is a “warm bias” in the photoreceptor cells; the cones’ sensitivity are skewed towards the longer wavelengths. This is despite what may be logically supposed that evolution would have developed vision around the preponderance of frequencies in earth’s daylight (the earlier mentioned, “blue bias” of mid-day). One idea for this is that, although many birds and insects have evolved to see more in the ultraviolet wavelengths, for longer lived mammals with a large eye UV radiation is harmful (it destroys photopigment molecules and yellows the lens in the eye). The primate eye may therefore be adapted in part to shift away from UV light, due to its potential for damaging the instrument.
Esoteric Correlations and Conjecture to Etheric Perception and EM Spectrum
Sensitivity to blue-violet does not appear to be evolutionarily crucial, yet the introduction of these very few cones in this area of sensitivity provided the necessary ability of the brain to distinguish different colours along the range of green to blue-violet, such as aquas. Experiments show that colour signals from the short-wave blue-violet cones give inexact information about spatial position or depth perception, and information from the more abundant longer-wavelength cones are used to decide the exact position of an edge. This is what the second longer wavelength sensitive cone offered, greater depth perception and clarity of edges.
Esoterically, as we are said to be in the second or ‘blue’ solar system, the introduction of sensitivity to this frequency could be interpreted as analogous to those few who are sensitive to the 2nd ray or love-wisdom energy, as opposed to the masses characterized more by the 1st or 3rd (green ‘solar system’). We have been told in Letters on Occult Meditation p. 208, green is the foundational colour of nature, and upon it blue is built. The suggestions would then be that we would be becoming increasingly sensitive to blue-violet. If this is true, then it would follow that there would be an increase in the number of blue-violet receptor cells in the eye. However, this is not born out exoterically. The “warm bias” in the vision receptors, and the increasing evidence for orange cones, suggests an even further sensitivity to the longer end of the spectrum.
If, as DK suggests, etheric vision is a function of the physical eye, would we not assume the vision to be in either the ultraviolet or infrared end of the spectrum? The question is how does etheric vision fit in here? Where does the etheric ‘bandwidth’ lie on the electrom-magnetic scale? If the Electromagnetic spectrum is logically ‘situated’ in the 4th ether, then where is the ‘etheric wavelength’? (Even if the etheric vibrations are is more properly in the 3rd ether, a step higher than what science has been working with for over a sentury, could also be logical and it would then interpenetrate the EM wavelengths of the 4th ether, as opposed to being on the developmental ends of our ‘normal sight’.)
Further, if etheric vision is involved in seeing the ‘violet devas’, this is consistent with how one is often advised to put one’s vision ‘out of focus’ in order to see auras and other potentially ‘etheric’ phenomenon, as the violet end is fuzzy. The dominance of the cones sensitive in the longer frequencies would seem to make it more difficult for someone to stretch their focal length into the level of fuzziness necessary to see actual ‘physical-etheric’ phenomenon. (One may also wonder whether the characteristic of ‘fuzzy thinking’ could be correlated with those who may be ‘evolutionarily advanced’ but “out of focus” with the norm.)
The fact that bees (esoterically considered a 7th, or violet ray, symbol) are sensitive to ultraviolet light is additionally curious in this respect. Perhaps they are sensitive or can ‘see’ the scent of flowers in ultraviolet? The relation of smell and visual sense cells share similar characteristics, such as how the amino acid chain traverses the cylindrical membrane seven times (as all amino acids in the superfamily of heptahelical receptors). Bees do not have a wider range of vision, however, and therefore our sensation of red would be, to them, infrared or invisible. Bees also have the ability to see polarised light. (However, before we get all warm and fuzzy about the bee and the 7th ray, some rodents also demonstrate a degree of visual ultraviolet sensitivity.
This could suggest that what we know of as ‘red’, and what this colour may more truly be esoterically, is unexplored territory because, as it relates to the final ‘solar system’ or impact of the First or Red Ray, this has not fully externalised or impacted humanity. In this sense, when the esoteric doctrine refers to red as a colour we have no cognizance of, this is literally true in that we do not have cones specifically sensitive to the furthest end of that light; it would take another new cone that is truly sensitive to long wavelengths to offer us more information about the long (red) end of the visible light spectrum.
In this case, we could correlate the appearance of the green or middle wavelength logically occuring first, biologically, then the blue-violet range (for the 2nd system), and now perhaps an evolvement of the more specifically longer or red wavelengths as humanity becomes more accustomed to the impact of the will, monadic, red or Shamballic ‘frequencies’. This would correlate nicely with at least a recapitulation of evolution: the green system first, the blue system second, and the red system, to come.
Colour as Perceived Psychologically
While there are (usually at least) three cone cells, humans experientially recognize four pure hues: blue, green, yellow, red. That is, most people identify these four as pure colours that 'stand on their own', not necessarily as ‘mixes’ of each other.
|
|
|
|
|
The human eye does not function like a machine for spectral analysis; the same perceived color can be produced by different physical stimuli. For example, in viewing coloured light, a mixture of red and green light of the proper intensities can appear as exactly the same as a pure spectral yellow, even though it may not contain any wavelengths that correspond to yellow.
The perception of colour is made depending upon which type of cones are stimulated, and to what degree of intensity. Because there are three cone receptors, combined with black and white, (the absence of full spectrum light and the full intensity of full spectrum light, respectively), there are eight logically recognizable “basic colours”:
In working with colour, exoterically and esoterically, it is necessary to learn and remember the combinations of these colours of light, or additive colour.
Colours produced from the simultaneous stimulation of two cones result in the secondary colours, as shown:
B+G+R white
B violet-blue
G green
R Orange-red
G+R yellow
B+R magenta
B+G cyan
Bl black
|
3 Primary colours 8 basic colours pure wavelength, or as combined
|
||||
|
|
||||
|
|
||||
|
|
||||
|
|
|
|
||
|
|
|
|
||
|
|
|
|
||
|
Blue |
Green |
Red |
White |
|
|
|
||||
Note that magenta, created through the stimulation of the red and blue cones, does not naturally appear in the electromagnetic spectrum. Note also that yellow is visually created through the simultaneous stimulation of the cones sensitive to red and green (long and medium-cool wavelength producing the medium-warm sensation). This is the ‘least intuitive’ pairing, and should be commited to memory until it becomes a natural understanding.
This is consistent with the esoteric terminology complementary pairs of:
Violet and yellow
Blue and orange
(We may wish to note that the complementary or opposite of this colour, which subject we will investigate more fully later, would be a very dark, warm indigo or purple, and the esoteric blinds used by the Tibetan and Blavatsky often consist of the use of calling a colour by its opposite.)
An increase in intensity of the same spectral makeup of light causes the visual system to raise or lower the perception level of each colour uniformly.
A change in the spectral quality of a source of illumination (e.g., the sun at noon to the sun at late afternoon, or a fluorescent to incandescent light bulb) causes the visual system to adjust so that the optimum perception of colour differentiation is maintained.
The visual system is unable to differentiate or equate same wavelengths independent of adjacent stimuli. That is, we judge a colour by the company it keeps. Colour perception is dependent upon all of the wavelengths of light that simultaneously impact the cones. The examples in this area are fascinating, but due to the limitations in quality control of reproduction, and scope of this thesis, I will not attempt colour examples. (Many good examples can be found in colour publications on colour and vision, scientifically or artistically-oriented texts.) In lieu of a colour diagram, the following phenomenon are suggested to the reader’s conceptual consideration:
THREE COLOURS APPEAR AS FOUR: Using the SAME GREEN (medium wavelength) on an bluish background, and this same GREEN on a reddish background, would be interpreted as a different colour (two distinct wavelengths). This is due to the visual system’s attempt to highlight differences of two adjacent colours. In this case, the green on blue will be perceived as a more yellow-green – the colour further away from blue; the green on red will be shifted towards the blue-green range – the colour further away from red.
FOUR COLOURS APPEAR AS THREE: Using DIFFERENT GREENs on blue and red can appear the same (according to some specific wavelengths, not all.) In reverse of the example above, if a yellow-green object is placed on a red background, it will be perceived as more blue-green than it would on a white or black background (because the yellow wavelengths will be diminished by the orange-red cones attempting to focus on the more prominent red background). Similarly, if a blue-green object is placed on a blue background, it will be perceived as more yellow-green (because the blue wavelengths cannot ‘compete’ and will therefore ‘move away from’ the perception of the more prominent blue background.)
Colour reflected from an object is perceived differently depending upon the quality of light, (e.g, sunlight, fluorescent light, incandescent light, individual spectra of light). As an object’s reflected colour is ONLY perceived due to the type of illumination impacting an object and reflected into the visual system, this is a crucial consideration. (For example, an object that appears white in full spectral “white light” will appear red if illuminated by a red light; a violet-blue hue will look much darker and impure in a yellowish light than in white light; a red tomato illuminated by a green light will appear black; etc.)
The possible uses and further definition of these aspects of sight, and of the commonly used terms “visualization” and “creative imagination”(a sense related to ‘taste’ in the esoteric schematics), will be explored in the “Practice Chapters”.
DINA II, p367-8: Light upon the physical plane leads to vision, Light esoterically leads to increase in consciousness, recognition, perception, the role of vision in evolution, Human evolution or the human evolutionary process is entirely concentrated around the sense of sight, with its consequent effects and results of vision, recognition and perception—all of them constituting what we mean when we speak of revelation.
The eye is esoterically speaking most important from the standpoint of humanity. Indeed humanity is offering the gift of Vision through the Eye of Consciousness to our planetary Logos, indeed its monad constitute the eye of the planetary Logos.
DINA II, 291-3: "the Monad is to the planetary Logos, what the third eye is to man; this will become clearer to you if you will bear in mind that our seven planes are only the seven subplanes of the cosmic physical plane. The monadic world - so-called - is His organ of vision; it is also His directing agent for the life and light which must be poured into the phenomenal world. In the same way, the Monad is to the personality in the three worlds, also the source of its life and light.
"The mystery of the eye and its relation to light (esoterically understood) is very great, and as yet not student, no matter how diligent, knows anything about it. For instance, brother of mine, when the third eye, the inner eye, and the Monad are brought into direct alignment with "the Eye of God Himself", so that what the planetary Logos sees can be partially (at least) revealed to the initiate, who can tell what that revelation will bring of results and enlightment? When the true nature of the will is comprehended and the self-will of the personality (of a very high order, necessarily), the will of the soul (as demonstrated by the activity of the highest tier or circle of the egoic petals), atma, expressing itself as the spiritual will, and Sanat Kumara are also brought, through initiation, into direct alignment, who, again, can predict what the revelation will be? When again ...the myriad thoughtforms of the concrete or lower mind are seen as illusion, and the lower mind, the knowledge petals of the egoic lotus, the abstract mind and buddhi or pure reason are all brought into alignment with the Lords of Karma in a direct relationship and as signifying the ending of karma in the three worlds, who can foretell the nature of the ensuing revelation? It is alignment that holds the clue or the key to all these deeply spiritual events " DINA II, 349.
In this section we deal with the combination of colours of light and colours of pigment. We should first define the common and way of referring to colours:
Any color sensation can be duplicated by mixing varying quantities of red, blue, and green. These colors, therefore, are known as the additive primary colors. If light of these primary colors is added together in equal intensities, the sensation of white light is produced. A number of pairs of pure spectral colors called complementary colors also exist; if mixed additively, these will produce the same sensation as white light. Among these pairs are certain yellows and blues, greens and blues, reds and greens, and greens and violets.
Most
colors seen in ordinary experience are caused by the partial
absorption of white light. The pigments that give color to most
objects absorb certain wavelengths of white light and reflect or
transmit others, producing the color sensation of the unabsorbed
light.
The
colors that absorb light of the additive primary colors are called
subtractive primary colors. They are red, which absorbs green;
yellow, which absorbs blue; and blue, which absorbs red. Thus, if a
green light is thrown on a red pigment, the eye will perceive black.
These subtractive primary colors are also called the pigment
primaries. They can be mixed together in varying amounts to match
almost any hue. If all three are mixed in about equal amounts, they
will produce black. An example of the mixing of subtractive primaries
is in color photography and in the printing of colored pictures in
magazines, where red, yellow, black, and blue inks are used
successively to create natural color. Edwin Herbert Land, an American
physicist and inventor of the Polaroid Land camera, demonstrated that
color vision depends on a balance between the longer and shorter
wavelengths of light. He photographed the same scene on two pieces of
black-and-white film, one under red illumination, for long
wavelengths, and one under green illumination, for short wavelengths.
When both transparencies were projected on the same screen, with a
red light in one projector and a green light in the other, a
full-color reproduction appeared. The same phenomenon occurred when
white light was used in one of the projectors. Reversing the colored
lights in the projectors made the scene appear in complementary
colors.
Hue or Chroma, normally the commonly named colour
Saturation: the degree of strength or purity of the colour; the amount of gray; a colour is a shade if it contains more black than the or tint
Brightness or Intensity.
Colours are described in terms of three fundamental characteristics:
Hue is the wavelength of light reflected from or transmitted through an object. This is the commonly named “colour”, such as red, orange, or green. Hue is measured as a location on the standard colour wheel and is expressed as a degree between 0° and 360°.
Saturation, sometimes called chroma, is the strength or purity of the colour. Saturation represents the amount of gray in proportion to the hue.. Fully saturated colour approaches black and is called the “shade” of the hue; “unsaturated” colour approaches white and is called the “tint” of the hue. An analogy in sound could be that of the amount of base or treble quality to a note, or the amount of muting that is applied to the tone..
Brightness is the relative lightness or darkness of the colour, similar to volume in sound.
Exoteric science has well defined colour models to describe the various mediums of colour: the two basic models are
Light
Pigments
Most of us are most familiar with pigments, as this is what we use in painting and how we learned about colour combination. In both the light and pigment systems, there are three primary colours in each of these systems, and the primaries are different in each model.
Light = Red, Green, and Blue (RGB) Light
Pigment Paints = Red, Blue, and Yellow (RBY) Matter
The primary difference between colours of light and the colours of pigments is how they respond in combination with their other colours. The two distinctions are termed: additive and subtractive.
Light is “additive” because when one wavelength of light is added to another, more light is added, and the resulting colour is a combination of the two lights, thus brighter and more luminous.
Pigment is “subtractive” because when one pigment is added to another, more material is added, and the resulting colour is a combination of the two pigmented paints, thus darker and less luminous.
Pigment absorbs light; Light reflects more light.
Light = Additive = all colours = white
Pigment = Subtractive = all colours = “black” (a muddy dark colour)
Colour mixing laws refer to the law of vision. How either of these mixing laws take effect depends on the point in the chain of effects between light emission and the arrival of the wavelength upon the cones in the retina.
In additive mixture, the radiation itself strikes the eye. This is the most direct possibility of colour reception upon the visual system. The subtractive system is one step removed from the visual system, because the absorption performance of the filtered layers work together. Each filter layer modulates the original radiation wavelength.
If the appearance of a colour comes about because of light reflected off an object, this is object colour. In contrast to coloured light, object colour reveals the most varied properties, including translucence and opacity. All colouring agents, such as paints, pastels, etc., are object colours, because they are ‘absorbing matter’.
In both additive and subtractive mixing laws, the four missing basic colours are produced due to the cooperation of the four existing basic colours.
E.g.,
Additive – black, plus red-orange blue-violet green
Subtractive – white, plus magenta cyan (blue-green) yellow
Additive
In the visible light spectrum, three of the colours are considered primary. Through combining the wavelengths of these three basic components of coloured light in various proportions and intensities, nearly all the other colours in the spectrum can be produced. Specific frequencies of these three primary colours combine and create white. (A few other specific combinations of two colours, called “complementary pairs” can also combine to create white, which is called ‘two colour’ white.) While we just learned above that each colour, or wavelength, is independently produced and has as much as ‘existence’ as any othe frequency on the em scale., the three “primary colours” of Red, Green, and Blue are uniquely placed so that when they overlap or are combined, they create the “secondary colours” of light: cyan, magenta, and yellow.
In common physical environment, the RGB model (additive colours) are used for creating video, film recorders, lighting, and TV and computer monitors. These monitors creates the wide range of colours through stimulating phosphors of just the three primaries.
RED and BLUE = Magenta
BLUE and GREEN = Cyan
GREEN and RED = Yellow
Note that the secondary colours are lighter or brighter than the primaries, because they have benefit of two sources of light, thus more light or brilliance.
Pigment Model: RBY
This is the more commonly recognized trinity of primary colours, which is often used in children’s toys and on the artists’ palette. These are the “subtractive colours” of pigment are: Red, Blue and Yellow. The difference from light and pigment primaries is the exclusion of Green and the inclusion of Yellow.
In combining these three primaries, Red, Blue and Yellow, we arrive at the pigment set of “secondary colours”:
Red and Blue = Purple
Blue and Yellow = Green
Yellow and Red = Orange
Note that the secondary colours of pigment are darker or more saturated than the primaries, because they are created through two pigments, increasing the material which absorbs light, and are thus duller or darker.
Subtractive
Subtractive mixture describes modulation of visible radiation through transparent filters.
Subtractive mixture is the counterpart or reverse side of the complementary law of additive mixture.
The generation of colour due to subtraction occurs when something is ‘taken away’ or subtracted from the existing radiation energy by absorption. The subtractive basic colours are yellow, magenta-red and cyan-blue.
E.g., through the yellow layer, no shortwave radiations can pass so the reception sector for violet-blue will not receive any stimulation and therefore no perception of violet is possible; yellow regulates the perception of violet-blue. (exoterically, 4 controls perception of 7)
Similarly, through the cyan layer, no red may pass; light blue regulates the perception of red. (Exoterically, 6 controls perception of 1 … or 2 controls perception of 6)
Through the magenta layer, no green may pass; magenta regulates the perception of green. (Exoterically, 6 controls perception of 3)
These are therefore the inverse of the RGB, light or additive, system
Colour photography, and in part, multicolour printing, work according to the laws of subtractive mixture.
Achromatic white is always the indispensable initial basis for subtractive mixture. E.g, in colour photography the white light, which is necessary to see a colour slide or in printing, the white paper surface which is the foundation for the photo.
light filters or films (additive)
light-absorbing inks or dyes (subtractive)
As noted in the RGB, or Light model, combining or overlapping the primaries of light resulted in the secondary colours of light:
Cyan, Magenta, and Yellow
These colours are used in light filters and in photography, we have the additive effect of the colours of light, yet we are working with a medium which blocks various frequencies of light. As we see, CMY and RGB are in reciprocal relationship, i.e., each pair of CMY colours creates a RGB colour. The main point to note is that the apparent resulting colour is not its own frequency of light, but a combination of two.
As well, in the combination of RGB frequencies, the resulting secondaries produced through combination of two primaries creates a new colour which, although it may appear the same as a colour in the natural spectrum, it is a combination of two, and can be resolved into its component parts. As well, combining just the three frequencies of RGB apparently makes white light, yet it is ‘three colour white’, and not full spectrum white.
E.g., magenta and yellow creates a ‘two colour red’, it is not the red frequency, but in stimulating both the medium (yellow) wavelengths and a mix of long and short (red and violet), the combination appears red. The difference is that when you split a red frequency from the light spectrum, you will only and always have just the red frequency wavelength. To the contrary, if you split a red light that has been created from yellow and magenta filters overlayed on white light, you will find its component parts are distinctly yellow and magenta.
Note: it is interesting that magenta is not found naturally in the em spectrum. Being a combination of blue and red, it is impossible to have magenta in the ‘linear spectrum’ as it naturally occurs; magenta does not occur naturally in the electromagnetic spectrum, but must be created through the application of red and blue separated lights. I.e., As infra-red and ultra-violet are the two ‘ends’ of the spectrum,
We see an integral relationship between the RGB model and CMY model. There is no direct or symbiotic type relationship between the RBY model and either of these two. To be suggestive to the esoteric sciences, this shows that pigment or matter is unrelated to the worlds of light, but that if a material can be made light-sensitive, there is a direct relationship.
In the case of the RGB and CMY models, let’s look again at the two primaries or trinities involved. We see that through the relationship of any two in each trinity, the result is one of the other trinity.
RED and BLUE = Magenta
BLUE and GREEN = Cyan
GREEN and RED = Yellow
In the subtractive trinity of absorptive inks (C,M,Y), combining
Cyan and Magenta = BLUE
Magenta and Yellow = RED
Yellow and Cyan = GREEN
We note there is no orange, or indigo, or violet in this model. Yet blue and cyan, could be, respectively, Indigo and Blue within the esoteric model. The violet may well be Magenta, yet violet as normally considered has much more blue than the red of magenta. So where is Orange?
We quickly find these colours that appear to be missing from the light models if we look to pigments. In comparing the two major trinities of Light and of Pigment, we note the following systems. The first primary, red, is repeated at the bottom in order to show the resultant 3 complements in each system. This is better illustrated in the accompanying chart.
Primary secondary primary secondary
Red/orange Red *
Magenta* Violet
Blue/violet Blue
Cyan (blue green) Green
Green Yellow
Yellow Orange
Red/orange Red *
* The red normally used to create the truest purple is more of a cadmium, or bluish red. For a clear orange, the red should not have the blue pigments but tend more towards a ‘true’ or orange-red.
chlorophyll a is a green dye. The absorption spectrum of chlorophyll (below) shows that it absorbs strongly in the red and blue-violet regions of the visible spectrum. Because it absorbs red and blue-violet light, the light it reflects and transmits appears green, e.g., plants appear green because chlorophyl reflects green light and absorbs red and blues.
The definition of complementary colours and opposite colours can be complex..
In the light model, a “complementary pair” are two specific frequencies that produce white. There are 3 pairs of light frequencies that produce ‘two-colour’ white:
Yellow to Blue
Magenta to Green
Cyan (488 nm, blue-green) to Red (600 nm, orangish-red)
If we place these primary and secondary colours of light in a colour wheel model, we see that the complementary pairs can also be considered opposites; however, truly the spectrum in a continuum, not a circle or wheel. (However, the creation of the secondary colour magenta does seem to bring the two ends of red and blue together.)
Note here that, esoterically, the “complements” normally given are as follows. They are very similar to the exoteric science:
Yellow to Indigo (v blue)
Red (v magenta) to Green
Blue (v blue-green) to Orange (v red)
In regard to the pigment model, we have the following “opposites”, normally considered. Again, the similarities are just.
Yellow to Purple (v blue or indigo)
Red to Green
Blue to Orange
The term ‘complementary’ may not apply in the pigment model in the way which the light model do, nor in the way the esoteric doctrines mean. Combining two opposite pigments creates very muddy dark colours.
Reference of popular psychological impacts of colours. While the variation of personal preference varies widely, and especially due to cultural factors, the following points give some idea about the effect of colours on the majority of westerners.
Red symbolizes heat, fire, blood, passion, love, warmth, power, excitement and aggression. It is an attention grabber. Words and objects in red get people's attention immediately. In decorating and design, red items attract attention. It is an emotionally intense and very extreme color. Red clothing can be uplifting and convey power and energy but may invite confrontation. It is dominating. With automobiles there is a positive correlation between the color red and theft rate and traffic tickets. It can elevate blood pressure and respiratory rate. It has the effect of stimulating people to make quick decisions and increase expectations. Red rooms make people anxious, but rooms with red accent can cause people to lose track of time, thus are favored by bars and casinos. Restaurants often use red as a decorating scheme because of its appetite stimulant function.
Orange is associated with warmth, contentment, fruitfulness and wholesomeness. It looks strong and generous. It is the color most associated with appetite. It has a declassifying, broad appeal. It can be used to indicate that a product is suitable for everyone, and can make an expensive product seem more affordable.
Yellow When used in small amount, produces sensations of brightness and warmth. It represents playfulness, light, creativity, warmth and an easygoing attitude toward life. It is as inviting as a warm, sunny day. Yellow is like sunlight -- you want it to be there to feel good, but you don't want it to be "in your eye". The pure bright lemon yellow is the most eye-fatiguing color. Light is reflected by this bright color, resulting in excessive stimulation of the eyes, causing eye irritation. It also speeds metabolism. Paint a room yellow, you will make babies cry and grown-ups lose their tempers in it. Furthermore, yellow is not a good color for notepads and monitor background. Although it can alert our brain and enhance concentration, it is hurtful to our eye. Pure yellow is the most cheerful and sunny of the spectrum. A softer tint, however, will make it more pleasant to look at. Dingy yellow represents caution, decay, sickness, jealousy and duplicity. The cheerful sunny yellow, is an attention getter. It is the most visible color of all the colors, it is the number one attention getter. Yellow is also associated with spirituality, and is a symbol of the deity in many religions
Green comes with many symbiotic meanings, among which, the strongest and the most universal is nature. Related to that, it also signifies life, youth, renewal, hope and vigor. Brides in the Middle Ages wore green to symbolize fertility. It is the easiest color on the eye and can improve vision. It is a calming color and has a neutral effect on the human nervous system. The "green rooms" are designed for people who are waiting to appear on TV to sit and relax. Green is also a popular color in hospitals because it relaxes patients. Various shades have different symbolic meanings: Dark Green -- cool, masculine, conservative, and implies wealth.
Emerald Green -- immortality. Yellow-Greens -- least preferred color of consumers.
Blue represents solitude, sadness, depression, wisdom, trust and loyalty. Wearing blue to job interviews indicates dedication and loyalty. It is one of the most popular colors. To American consumers of both genders, blue is the favorite color. However, be careful when using blue in association with food - it is a natural appetite suppressant and can be repulsive in some instances. It is the least appetizing. Blue food is rare in nature. Blue-colored food is repulsive to humans because when our ancestors searched for food, they learned to avoid toxic or spoiled objects, which were often blue, black, or purple. During experiments, when participants were served with food dyed blue, they lost appetite. It relaxes our nervous system. It has a sobering effect on the mind and can cause people to be more contemplative, which is the opposite reaction as red. Peaceful, tranquil blue, which is a good color for bedrooms, causes the body to produce calming chemicals. Darker shades of blue, however, can feel cold and depressing. Blue surroundings, if not too dark, increase productivity. Studies show that students score higher, weightlifters lift heavier weights in blue rooms. People retain more when reading information written in blue text.
Purple is the color for royalties. It stands for luxury, wealth, and sophistication. It is also the color of passion, romance and sensitivity. It is a rare color in nature. In ancient times, people used a certain species of shellfish to create purple dyes -- a meticulous process. Some people like purple decorations for its unusually posh and artistic look. To others, however, it just looks artificial.
Pink is the most romantic and tender color. It is also tranquilizing. Research suggested that pink makes people calm and soft-hearted. If prison cells were painted pink, it reduced aggressive behavior among prisoners. Even if a person tries to be angry or aggressive in the presence of pink, he can't. The heart muscles can’t race fast enough. It’s a tranquilizing color that saps your energy. Even the color-blind are tranquilized by pink rooms. Such effect however may be short-lived as once the body returns to a state of equilibrium, a prisoner may regress to an even more agitated state.
White stands for purity, chastity and innocence. In most of the western societies, brides wear white to symbolize innocence and purity. It also represents cleanliness. Doctors, nurses, and lab technicians wear white to imply sterility. White reflects light and keeps cool. So it is the color for summer clothing. In general, it creates a cool and refreshing feeling
Black is controversial; associated with demons, witches and the devil; on the other hand, sturdiness and reliability. It speaks with authority and power; on the other hand, despair and mourning. It symbolizes evil characters and criminal activities; on the other hand, constancy, prudence and wisdom. It is the clothes color of choice for many people for various reasons. Some wear black for it feels formal and powerful and visually slimming, stylish or sophisticated. Priests, on the contrary, wear black to signify submission to God.
Let’s move now fully into the esoteric models of colour, and the blinds and contradictions that are logically used.
A synopsis of key elements of the visual system:
The perception of ‘true’ white light occurs only if a sufficient range of frequency is registered by various cone types simultaneously with the necessary intensity.
“White” doesn’t describe the spectral composition of the emanating or reflected light.
Sunlight is considered white. Yet, the observer should note that sunlight, while the only naturally occuring full-spectrum light we are exposed to, is of a ‘yellow’ classification, astronomically speaking. Further, the spectral quality of “daylight” varies greatly depending upon the time of year, position of the sun in the sky, atmospheric conditions, reflecting surfaces (e.g., ocean or forest), etc.
Primary three:
There are ‘dominant wavelengths’ that create the perception of the trinity of primaries: blue-violet, green, and orange-red; these wavelengths correspond to the wavelengths to which the primary three cone receptors in the eye are most sensitive. Secondary colours are perceived from the combination of two cones being stimulated simultaneously; i.e., there is no single receptor (cone) that transmits the information of cyan, magenta, or yellow.
Two colour white:
Certain combinations of wavelengths can create the phenomenon of white light. These combinations are termed “complementary pairs”. All colour stimuli are considered complementary if they together lead to the perception of whtie. The determinant of the perception of white is not the spectral composition of the stimulus, but the interpretation of the values within the visual system.
Complementary pairs:
Complements can be created through many combinations of wavelengths. Two colour white can only be created through combination of wavelengths in the short wavelengths with those in the long wavelengths (blue-violet colours with orange-red colours). This is because, as magenta is only perceived through the combination of two colours, green has no single-wavelength generatable complementary pair. However there are numerous complementary pairs combined from specific wavelengths of the blue-violet and yellow, and the cyan-blue and yellow-orange ranges. As we are utilizing the Newtonian or esoteric nomenclature for colours, we have the following complements that agree in both exoteric and esoteric models:
Red green
Blue orange
Yellow indigo
Violet and white are not exoterically recognized as opposites, but suggested to be so esoterically.
Black and white would be considered complements logically, but these are not registrable in the visual system as frequencies, but as the absence of light or full presence of all wavelengths, respectively.
2.1 The concept of esoteric and exoteric colours is repeated throughout the works of HPB and AAB. The terms esoteric and exoteric refer to one being more true to the inner reality, and the other more characteristic of the outer form, respectively.
One meaning of the term esoteric is: “meant for the initiated” – one of the definitions of an initiate is that he is the “cause of evolution”. A meaning of exoteric is: that which is commonly available or obvious, or that which is an effect. (As cause and effect are relative terms, any one cause being the effect of a greater cause, and any effect being the cause of a lesser effect, let us hold in mind the relative ‘direction’ of our definitions of esoteric and exoteric. The major question will be: What caused the esoteric colour? Of What greater Cause is this ‘cause’ an effect?) We are therefore commonly presented with a dual expression of colours: a positive and negative polarity; a light and dark side; a vice and a virtue; a cause and effect dynamic.
This dual way of interpreting colour, and any phenomenon in the lower worlds, is fundamental to the esoteric doctrines. However, one also generally finds a triplicity of energies emphasized in any full system. For example, in esoteric astrology, we are offered three levels of planetary rulerships: exoteric, esoteric, and hierarchical. Further, the whole nature of triangles and the circulation of energy in a threefold system is paramount when dealing more with the life aspect than the form phenomenon.
And so in colour, we find occasions when a triplicity is offered, or can be logically applied to colour. Any definition of a colour depends upon:
The vehicle or point of evolution which a Life of Colour is expressing through: e.g., personality, soul, or monad
The plane of consciousness upon which this Entity is polarised or ‘located’
Plus the plane of consciousness and point of evolution of the observer
The notion of status (point of evolution) and location (polarisation) can be held here for both the Entity under consideration and for the observer interpreter. Each of these adds its own colouration in the deciphering of the correct quality or true nature of any entity in question. LOM, p. 215: "In the esoteric interpretation lies hid half the mystery, and the other half is concealed by the fact that all interpretation depends upn the standpoint of the interpreter, and the plane whereon his consciousness is working."
A confirmation of both this twofoldness and threefoldness are colour are found in TCF, p. 1171-1172, Law 7, The Law of Colour: "… colour serves a twofold purpose: It acts as a veil for that which lies behind, and is therefore attracted to the central spark; it demonstrates the attractive quality of the central life. All colours, therefore, are centres of attraction, are complementary, or are antipathetic to each others. …
So the “twofold purpose” is to
1. act as a veil
2. demonstrate the quality of the central life.
As to the threefold roles or effects, let’s arrange them under the three above mentioned roles, and then add in other correspondences used in relation to the threefold nature of colour:
attraction/quality of Life complementary antipathetic
hierarchical esoteric exoteric
true colour complementary colour antagonistic colour
true colour illusory appearance reflection
colour complementary polar opposite
monad/initiate soul/disciple personality/aspirant
This is in accordance with the basic 1st, 2nd, or 3rd aspect of colours. Simply, it appears that each ‘true colour” or Life may be the term most appropriate to the originating monad, the complementary colour relates to that of the esoteric nature or soul aspect, and the antipathetic relates to the exoteric or personality aspect.
In daily life and consideratio, we refer to a colour in its exoteric form, or that which would be the reflection or polar opposite or antagonistic colour to the 'esoteric' or 2nd aspect version. We are likely not given the 1st aspect of the true colour as at this level of exoteric knowledge getting in touch with the monad or originating source of a colour is beyond the scope of printed material. The import of this is that, for all of us endeavoring to discern our personality and soul rays, or these colours, that each of these are ‘effects’ to the true colour, which ramains unknown until at least the 3rd initiation. Recognizing this major limitation, we note that the ‘esoteric colour’, the soul colour, the life of a colour, is in itself a reduction or distortion from the true colour.
Adding some complication in deciphering the esoteric and exoteric and true colours, we are on one occasion given two colours as the esoteric colours:. This reference is made in context of the solar logos, "blue in colour, esoteric orange and green." Either with the orange and green one is our normally considered esoteric or soul colour and one is the true or monadic colour, else we have the possibility that there can be dual esoteric rulers. My tendency at the moment is to take the former view, and in this instance, orange is the soul colour of the solar logos, and green its true or monadic colour. Blue is its exoteric colour, (blinded by the complementary yellow -- disk of golden light -- to our eyes). [Comment along further ramifications on this topic are handled in Chapter Two.]
One reference makes clear the need to consider colours at their proper level: TCF, page 1011
"The 'Eye of Shiva,' when perfected, is blue in colour, and as our solar Logos is the "Blue Logos" so do His children occultly resemble Him; but this colour must be interpreted esoterically. It must be remembered also that prior to the final two Initiations (the sixth and seventh), the eye of the white magician, when developed, will be coloured according to the man's ray—again esoterically understood. More anent this question of colour may not be communicated. According to the colour, so will be the type of energy manipulated …
Obviously here the reference is not made to exoterically blue-eyed children of the Blue Logos, but those who resemble Him by quality of the 2nd Ray. In this example, Blue is the esoteric colour of the Solar Logos, Yellow its exoteric form we see in the sky. (Further, as a reference suggests of the Blue Logos, "esoteric green and orange" -- this may be the Hierarchical level, the one more esoteric than the esoteric, and relate it to its origin in the first solar system.)
Likely another factor in our not normally having the third or highest level of 'esoteric' colour referred to, (here called true or hierarchical) is because, beyond the fact that this info is not for the general public due to hazards of knowledge in magical work, but because the term 'colour' isn’t very useful or accurate beyond the 'buddhic' or 'soul' or esoteric level, as the distinctions or separations, the sense of Ahamkara, is drastically reduced at this level of ‘group’ consciousness. The futher we move ‘up’ in consciousness (away from the heresy of the concept of separation), the further we move towards pure light or white light, and away from the divergencies of Colourations. However, this is relative, as distinction or colour must exist up until the Final Day Be With Us.
Therefore, colour will always ‘be with us’ up until that truly final event of perfection. Yet we must pay attention to major changes in one’s essential ‘sense of difference’, which colour suggests. We have one most notable level when we are told that colour is not. In considering the 7 paths out of the solar system (entrance to the Cosmic Astral plane?), we find that the Paths are beyond colour. I suggest this is a relative realization, and that the essence which colour veils, continues, as does number, as far back along the paths of monadic emanation until The One disappears back into the Absolute.
The point about esoteric and exoteric colours could be put simply that we must always look at the level and relationship of the colour in question. “Red” is both an exoteric and esoteric colour – i.e., there is an exoteric expression called red, and an esoteric expression called red. The question is, of what? These expressions may well not be the True Colour Red, but how Red, as an entity, as a quality of Living Light, is perceived at various levels of distortion. (There are two qualities of colour, Radiance and Translucence, which may shed additional light on the meaning or deciphering of esoteric colours, yet they are not fully investigated herein.)
1. The eye of Shiva - the all-seeing eye, the eye which directs the will and purpose of Deity.
2. The right eye - the eye of Buddhi, of Wisdom and of Vision.
3. The left eye - the eye of mind, of the common sense and of sight.
1. The eye of the Father - carrying light from the great Bear.
2. The eye of the Son - carrying light from Sirius.
3. The eye of the Mother - carrying light from the Pleiades.
We’ll treat this question of colours as Living Light in the second chapter, on macrocosmic and microcosmic correspondences. For now, we are simply well aware that there are at least two, and likely three or more names for types of energy. These types of energy make appearances which we call by the names of certain colours.
Some Examples of Exoteric and Esoteric Colours
In the Colour Chapter in Letters on Occult Meditation regarding esoteric and exoteric colours, the main hint we are given is that this information and that in the Secret Doctrine "concerns the first solar system and some concerns a portion of the second solar system." At this point four colours are given with their exoteric and esoteric correspondences. (p. 224)
Exoteric Esoteric
Purple Blue
Yellow Indigo
Cream Yellow
White Violet
We can assume these as relevant to the 4 rounds of this second solar system, as we are told as much. DK then goes on to say that the esoteric colours of the exoteric red, green and range may not be imparted to the general public … yet on an earlier page, 216, he offered that "esoteric orange is a purer yellow, and the red is scarcely seen at all."
However, we are additionally also told that esoterically violet is white … and DK also stated that (p. 214) in reference to the listing on p. 213 that "of all I have given only two corresponding with their esoteric application, indigo and green. … the only two of which you can be absolutely assured." So let’s add these too:
Violet White
Green green
Indigo indigo
From tabulations sourced out of the Secret Doctrine, we have the following relationships of colours, and are told that these are blinded, similar to how DK blinds. These are said to be the colours of the Rays, which perhaps differ from simply the colours, or from the colours of the planes.
Exoteric Esoteric
Ray 1 Orange/flame red
Ray 2 Indigo with purple light blue
Ray 3 Black green
Ray 4 Cream yellow
Ray 5 Yellow indigo
Ray 6 Red silvery rose
Ray 7 White violet
We notice that exoteric Blue is not present, and there is no esoteric orange (although we are told red is more like orange, and so perhaps esoteric yellow is like orange. If so, where is esoteric yellow? Is it more like cream?)
While we are told that the esoteric and exoteric colours differ widely, yet in the instance of orange, we are told that esoteric orange is simply more yellow and "the red is scarcely seen at all." That isn't "widely different". Yet when we view some tabulations of (likely blinded) exoteric and esoteric colours (reference), we find that there is wide divergence, especially in the case of exoteric Yellow being esoteric Indigo, or exoteric white being esoteric violet (and vice versa). In most of the other cases, the differences are not apparently widely different, but usually a tint or shade of the exoteric version. (E.g., exoteric cream being esoteric yellow; exoteric purple/indigo being esoteric light blue, etc.)
Thus we have 7 colours given in their exoteric and esoteric forms. The point here is that we may have the esoteric colours available for more colours than just those 4 of this round. The only colour which is the same in the list of 4 and the key listing of colours on 213 is yellow, that of the 4th or buddhic plane. We also find that the information in LOM may be giving us some truer esoteric hints, less blinded, and we will work with the assumption that Indigo is Indigo, and Green is Green. Yet, is Indigo THE colour for the second ray, or for the fifth, as indicated in the esoteric descriptions, and as the 5th Plane is considered to be THE KEY plane of … this solar system?
Contradictions and Blinds
In addition to being aware of the exoteric and esoteric (and probably hierarchical) forms of colours, we must first determine if any information we have been provided is subject to blinds. To safeguard the mysteries, apparent contradictions and the use of blinds, as a code for those who are able to safely apprehend the information, is widely used in the esoteric doctrine. As colour is one of the keys in physical plane manifestation, guarding its secrets has been especially necessary, as those who may not be working from a motive of light could use this most vital of keys to create effects most potently upon the physical plane. When one is able to use the creative imagination and visualize ‘in colour’ – they are manipulating the energies of manifestation. If their intention and the imaginings are accurate, the potential for magic is real, for good or ill.
In the Secret Doctrine and the writings of Alice Bailey, DK tells us that the colours referred to differ, yet the blinds used are the same, and are applied according to the same rules. Therefore, to our help, the use of contradicting information is not arbitrary, but is used carefully used in a way that also holds keys for those who penetrate beyond the appearances. We also know that from the above references about the Secret Doctrine, that some of the information on colour referred to the first solar system, some to the second. Therefore, our first ‘blind’ and potential area for contradiction, lies in whether our reference material is speaking about the personality (unless the first really was monadic) or soul aspect of the solar system.
Predominantly, the major blinding technique used is that of complementary colours. In addition to calling one colour by its complement, another type of blind is to speak “in terms of the plane and not in terms of the ray” (p. 207, LOM). This suggestion reinforces the idea that the more accurate colour key is colour = ray, not: colour = plane.
Some examples of this usage will be explored below, but, before we go to the examples, let’s see what complementary means and how it is used in the esoteric and exoteric sciences. First, here is a key esoteric references that mention “Complementary colours”, from TCF, Stanze XIII, page 32 “… Many the circling fires; many the revolving rounds, but only when the complementary colours recognise their source, and the whole adjusteth itself to the seven will be seen completion. Then will be seen each colour in adjustment right, and the cessation of revolution.”
This quote suggests “complementary” may relate to the exoteric form, because they must “recognize their source”. Else, it refers to the esoteric form, and its adjustment to the monadic ‘sources’. At either level, it assumes the complementary colour has a ‘source’. Once this ‘recognizition’ is made, then the seven can blend, white light rays forth, revolution ceases, the goal of evolution, perfection or synthesis, is achieved.
This next key quote again suggests the three levels of colour, and, in support of this theory, we find that even in the practical application of colour in healing, we are suggested to use 3 colours. (In LOM, page 335)
"The use of coloured lights. These lights are played on the body of the disciple and effect a shaking-out process and a simultaneous stimulation of the atoms. This cannot be done till further information is given anent the Rays; when a man's ray is known, stimulation will come from the use of his own colour, a building-in will be brought about by the use of his complementary colour, and disintegration of unwanted matter will be brought about by the use of an antagonistic colour. … " LOM, page 335
Thus we have the following basic practical relationship, (my notes in parenthesis added for context.)
A "stimulation" will occur through the use of an individual's "his own colour" (Often when DK refers to someone's "ray" he appears to refer to the monadic ray – if he has not mentioned context of the soul or personality. Thus we can call this the “true” or “hierarchical colour” of the monad, that which stimulates Life. Don’t go into the morbidity of the monad.)
A 'building in will be made by use of his complementary colour (the soul or esoteric level, whose function is as the 2nd aspect, to 'build').
A “disintegration of unwanted matter” can be effected through the use of an antagonistic colour.
This division reinforces the previous quote’s probable meaning of the complementary colour being ‘of the soul’ or consciousness level, and ‘the source’ that is to be recognized is “his own colour” or true colour, the monadic or level of origination.
Alternately, “his own colour” and “his complementary colour” could both be on the ‘soul level’, and are the two “esoteric colours”, and there is a duad: “stimulation” and “building in” both referring to activities of the soul. “One’s own colour” need not necessarily refer to the monadic or higher essence, yet if it does, we still have two ‘esoteric colours’ -- one monadic and one soular, both esoteric from the point of view of the personality aspect.
Exoterically, in the science of optics a “complementary pair” is defined as any two colours which when combined produce white. This is called “two colour white.” This is a reminder that white can be produced by two colours, as well as by specific combinations of three colours, as well as through a full spectrum. Let us also remember that, in a spectrum, there are not divisions of 7 colours, or 6 or 5 or 12 or any divisions at all, naturally. The spectrum is a continuum, and it is based upon convention and the nature of human vision that we assign colours into various divisions of colours. In most simple colour wheels for example, the basic division is of three primary colours with the secondary or opposite colours, making 6. Adding “indigo” as a 7th colour is not so common in spectral optics. This will be shown more clearly in the next section on optics.
To return to the exoteric example of complementaries, to highlight their use as blinds in esoteric doctrines, here are the 3 pairs that produce white:
Yellow and Blue
Magenta (blue-tending red or rose) and Green
Cyan (488 nm, a light blue-green) and red-orange (600 nm)
Yellow, Magenta, and Cyan are called the complementary colours, as they are formed by combining the two adjacent primary colours of Light:
Red and blue make magenta,
blue and green make cyan,
red and green make yellow.
Esoterically, the complements are as follows. Similar, yet distinct in certain respect from exoteric science:
Yellow and Indigo
Red and Green
Blue and Orange
(Note: Violet is not mentioned in complementaries; and remember its curious relationship to white, and how white and violet are reciprocally each others esoteric and exoteric colours. See pp.s 221 and 224 LOM – is this contradictory, the same, or reciprocal? Am I reading it wrong? These could be used as blinds as well. As short explanations, our exoteric white is esoteric violet because the entire cosmic physical plane, the 7th, can be considered violet as a whole, and this is where we live and have our consciousness, this violet colour is actually what we term White Light in common terms; we believe our ‘full spectrum’ of the electromagnetic band creates white light. Similarly, our exoteric violet is esoteric white because on our 7th physical plane, the upper 4 etheric subplanes are called violet, yet the ethers could be considered to be the dazzling solarized white of the “violet” subplanes. This will be looked at more closely in the chapter on pairs of colours, Chapter 4.)
To explore, what would be an example of a true colour, a complementary colour, and an “antagonistic”? What would antagonistic mean in this sense?
Examples of blinds using Complementary Colours
According to DK, the following blinds involving complementaries are likely:
“Red may be called green and orange may be called blue.” Further, he adds that “the key to accurate interpretation lies in the point of attainment of the unit under discussion. If speaking of the Ego one term used; if of the Personality, another; whilst the Monad or higher auric sphere may be described synthetically or in terms of the monadic ray.” (LOM, p. 207.)
This again reinforces our assumption to always take into view these three levels of consciousness, yet adds the question of when is the blind used on what level. For example, Red, Blue and Green are commonly given as the colours for each of the three solar systems. If we are investigating the Green or first solar system, which we believe developed the matter or 3rd aspect, to which level do we assume is this assignation of green? Is it the real colour of the personality aspect, the soul aspect, or the Monadic? Or none of the above? Is the first solar system, that which developed the 3rd aspect, more truly the red solar system? Our assumption that it IS green, may be the blind that we are referring to. Yet, if it is the Red solar system, then does Red refer to the personality, soul, or monadic level? One sees the complexity involved.
Examples of blinds through mixing references to Planes and Rays
Another type of blind, as touched on breifly, is to speak “in terms of the plane and not in terms of the ray” (p. 207, LOM). The example given is for the “colours of the higher or lower mind”. Excluding for the moment the use of complementary colours as blinds, let’s assume that the colour of the higher mind is Blue, and the colour of the lower mind is Orange. (LOM, page 225-226.) The colours of the 5th Ray are given in various places, and refs above, as Yellow (exoteric) and Indigo (esoteric). If we were dealing with a blind for the 5th ray therefore, we could, for example, say that Orange is the colour of the 5th Ray. (The interesting thing about this example, is that if we use the complementary colour blind, we find that the colours of the rays and of the higher and lower planes are, respectively, the complements for each other. Blue/Orange; Yellow/Indigo. Therefore, in the case of 5th Ray, if we were only dealing with the possibility of the use of complementaries as a blind, we could safely say Ray 5 is either Yellow or Indigo, esoterically. However, combining this with the blind of switching Planes and Rays, it could be Blue or Orange …
To touch on another example, considering blinds in general. Let’s take the atmic plane. We are not offered a colour for the atmic planes, yet the third ray would be normally associated with the atmic plane, and the colour for the third ray, is normally called green (sometimes yellow). In this case the normal ray and plane are the same colour. (We have been given black as an exoteric colour for ray 3, however, but that may have been first solar system.) If we only consider that the Atmic plane IS green, we have to factor in green is a complementary blind for red.
Could atma be red? Certainly it makes sense that Atmic plane could be red, because it is where the will aspect of the monad is situated. Will is often related to Red. Yet -- Could the third ray be red? If so – What aspect of it? As we are admonished, “if in terms of the personality one term, if the ego, another, the Monad another. Now if we wanted to refer three colours to Ray 3 or Atmic Plane, this makes sense. Yet from which point do we start? And what would be the third colour?
One method would be to assign the colour given as the exoteric or personality colour. Thus in considering either the Atmic Plane or the Third Ray, in its exoteric or form aspect, they could definitely be Green; yet in its esoteric or egoic aspect, they could be red. (The Third Ray may have a willful soul!) In its monadic expression, however – where do we go? If we make a leap to “describe it synthetically”, perhaps the Third Ray is yellow, the colour of red and green combined. As Yellow is often termed a colour of the soul or middle principle, Atmic Plane is the middle plane of the 2nd, 3rd, and 4th – the planes of the Monad.
While these examples are neither meant to frustrate us into futility, nor meant to suggest endless possible logical ways to decipher the ‘true colours’ – they are meant to give an appreciation for the complexity involved, and the possibilities that may open up when even a turn or two is made on this colour key. Let’s retain this as integral to all work which will follow.
My efforts in Chapter Two will be to offer some coherent systems which hopefully will bear out some of these conjectures through simple charts, which resonate truth through their correspondence to other keys. The conjecture there will be based upon the intuitions garnered through pondering upon the variety of references on each colour, individually and in combination, which is documented in Chapter 4, and through leaps of faith and possibly unfounded confidence.
Can we put this all together? For example, let’s assign Red as the true colour …
the complement of Red is Cyan, or a blue green (perhaps turquoise or light blue). An antagonistic must be one of the other primaries, not one of the complements. I say this because if we take a red light and apply a magenta, yellow, or cyan filter – cyan we know blocks the red light, or more accurately, combines with it to produce white – as they are a complementary pair. Magenta and Yellow filters allow the red to pass through unaffected. Thus, one of the other primaries, blue or green, must be antagonistic to Red. – is this a logical reason that they are antagonistic?
What would best cause a “disintegration of unwanted matter”
Let’s try another example, Blue. Blue is the true colour, its complementary is Yellow, and the antagonistic colours would be red or green.
With Green as true colour, complementary is magenta (rose), and the antagonists are blue and red.
If Rose is true colour, complement is Green, antagonists are cyan or yellow.
If Cyan is true colour, complement is Red, antagonists are yellow or magenta.
If Yellow is true colour, complement is Blue, antagonists are magenta or cyan.
In pigment:
If Red is true, green is complement, orange and violet are antagonists.
If Blue is true, orange is complement, green and violet are antagonists
Polar opposite is esoterically the complementary, venus is polar opposite of Earth, but esoterically it is the complementary.
Pigment and ink analogy
Blue Logos -- esoterically orange, green?
It looks like DK mainly uses the colours of pigment; however he also uses red, blue, and green for the primaries of the solar system – red blue and yellow when talking about a man’s rays (the colours of pigment, or exoteric), and red, blue, and green when talking about cosmic or planetary sources (the colours of light, or esoteric)
Begin insert of info from Leo Probe here, for incorporation into final thesis.
for Systemic Centres, (from Solar Septenary Chart of Planetary Schemes)
|
|
I. Uranus |
|
|
II. Neptune |
|
|
III. Saturn |
|
|
1. Vulcan |
|
|
2. Venus |
|
|
3. Mars |
|
|
4. Earth |
|
|
5. Mercury |
|
|
6. Jupiter |
|
|
7. Saturn |
for Planetary Centres (in Earth chain)
A. "Within each planetary scheme, are found the seven chains which are the seven planetary centres,
B. "... seven planetary centres, or continents." (-- this is a complete dice toss!, just putting it 'in the game'.)
C. Also adding in 5 kingdoms "and 5 planetary centres", and "3 major planetary centres"
|
|
I. Shamballa (Manu) or red (Russia) |
|
|
II. Hierarchy (Christ) (USA) |
|
|
III. Humanity (Mahachohan) (Britain) |
|
|
1. Neptune (Russia & Asia) Geneva) HEART (vegetable kingdom) |
|
|
2. Venus (South & Central America) |
|
|
3. Saturn (Europe) London: THROAT (human kingdom) |
|
|
4. Earth (Africa) |
|
|
5. Mercury (India, Asia) Darjeeling: AJNA (5th kingdom) |
|
|
6. Mars (North America) New York: SOLAR PLEXUS (animal kingdom) |
|
|
7. Jupiter (Australia? Far East) Tokyo: BASE (mineral kingdom) |
"... outlets of planetary energy through the means of which great and general effects are produced in the external, planetary life. In this fifth root-race, there are only five such outlets as far as effects on humanity are concerned; man's responsiveness to them, is demonstrated by the fact of their relative importance in conditioning world events and world affairs. Wherever one of these outlets for spiritual force is found, there will also be found a city of spiritual importance in the same location. These five points are: 1. London.—For the British Empire. 2. New York.—For the Western Hemisphere. 3. Geneva.—For all of Europe, including the U.S.S.R. 4. Tokyo.—For the far East. 5. Darjeeling.—For all of central Asia and India.
"... The soul and personality qualities of nations will be studied, the centres within each nation which focus certain ray energies will be noted, and the qualitative emanations of its five or six major cities will be investigated. Let me here give you an instance of what I mean: the influences of New York, Washington, Chicago, Kansas City and Los Angeles will be the subject of scientific research; the psychic atmosphere and the intellectual appeal will be studied, effort will be made to discover the soul quality and the personality nature (the spiritual and the materialistic tendencies) of these great aggregations of human beings which have come into expression in certain fixed localities because they are expressions of the force centres in the vital body of the nation. Similarly, in connection with the British Empire, a study will be made of London, Sydney, Johannesburg, Toronto and Vancouver with subsidiary studies of Calcutta, Delhi, Singapore, Jamaica and Madras which are all subjectively related in a manner unforeseen by students at present. Under the plan and contingent upon the energies pouring through the five planetary centres according [Page 530] to plan, there are three great fusing energies or vital centres present upon our planet: a. Russia, fusing and blending eastern Europe and western and northern Asia. b. The United States (and later South America) fusing and blending central and western Europe and the entire western hemisphere. c. The British Empire, fusing and blending races and men throughout the entire world."
Individual Human Centres
"and which need to be studied from two angles, "a. From the orthodox angle. b. From the angle of discipleship and initiation."
which I would guess are the exoteric and esoteric colours, not herein considered.
(AVERAGE MAN—EXOTERIC PLANETS
1. Head Centre first ray Pluto 2. Ajna Centre fifth ray Venus 3. Throat Centre third ray Earth 4. Heart Centre second ray Sun 5. Solar plexus Centre sixth ray Mars 6. Sacral Centre seventh ray Uranus 7. Base of Spine first ray Pluto)
DISCIPLES. INITIATES—ESOTERIC PLANETS
1. Head Centre first ray Vulcan 2. Ajna Centre fifth ray Venus 3. Throat Centre third ray Saturn 4. Heart Centre second ray Jupiter 5. Solar plexus Centre sixth ray Neptune 6. Sacral Centre seventh ray Uranus 7. Base of Spine first ray Pluto:
|
|
I. Monad or red |
|
|
II. Soul or blue |
|
|
III. Personality |
|
|
1. Vulcan 1st ray HEAD (Pluto) |
|
|
2. Venus 5th ray AJNA |
|
|
3. Saturn 3rd ray THROAT (Earth) |
|
|
4. Jupiter 2nd ray HEART (complementary to indigo: yellowgold) (Sun) |
|
|
5. Neptune 6th ray SOLAR PLEXUS or ORANGE/BLUE, (Mars = red/green) |
|
|
6. Uranus 7th ray SACRAL ("washed white in the blood"?) |
|
|
7. Pluto 1st ray BASE (or FLAME, more esoterically, kundalini afire) |
Conclusion:
This doesn't relate "the planetary centres to the human centres or of the systemic centres to the planets." It just makes some suggested assignments, with little degree of certainity. At this stage I just hope the background documentation may prove useful to others.
Reference only on basic points for Leo Probe
Full ref is Vic’s ‘working draft of colour thesis’
(Ref chapter on colour is DK’s 7th letter in LOM. Also note it is here where he begins with discussion of the Law of Substance, the law of supply and demand, and the injunction to use, demand, and take, and that gravitation holds the secret.)
Colour is primarily related to form and planes of manifestation [3].
(Conjecture into lives/rays [1]; and qualities/centers [2] is less certain, but can be resonant, or used as blinds.)
See LOM p. 229 and 218 & on 219, note these ray apportionments are “one way to consider the rays influencing the evolving life or form” … for these “great basic colours”:
BLUE 1 = LIFE = Spirit, Consciousness, Self
HEART = Sound
Relates to rays 2, 4, and 6 (Neptune/Venus?) The rays influence the evolving life in form through 3-fold Beings, aspects of 3-Monad, Triad/Soul, 3-Personality.
INDIGO 2 = INTELLIGENCE as LOVE-WISDOM = Mind, Vitality, Relation
HEAD = Number/Vibration
Relates to Rays 3 and 5. (Star pentagrams, man, flashing forth, and Rays 3 and 5, as the most ‘developed’ rays from the previous system, is what the Two, love-wisdom system is using as its “foundation”, here:
GREEN 3 = FORM = Matter, Vehicle, Not-Self
THROAT = Colour and Light
Relates to Rays 1, 7, 5. The septenate planes, subplanes, centers, chakra, rounds, chains …
LOM p. 205: Because … the Solar Logos, for THIS solar system, “uttered the great Cosmic Word/Life” and 3, then 4, major streams of colour issued forth, creating the Cosmic Planes for this 2nd aspect of his threefold Life (monad, soul, personality, and other 3-fold levels):
Blue - Indigo - Green then the quaternary: yellow, orange, red, violet
A U M
O M
Remember this is B I G (Blue, Indigo, Green) + Y O R V
These 3 are the BASIC COLOURS, then …
this 7-fold MATTER of the PLANES is what a 3-fold Life (Helios-Sol for example) uses to ‘work through’.
“orange, red, violet fall naturally together”, because they are Sol’s 3-fold Personality
Ref: The two kumaras who fell, or at least the orange and rose did; knowledge and love, to create a flame/wisdom system? Blinded here:
(orange =) blue + (red/rose =) green = cyan, sacred blue … see full refs in thesis, Stanzas.
Note the 3 triangles of Life (of Helios, e.g.) have the following relationships (see LOM p. 217) and rays (also remember the alternate apportionment of ray influences above.)
Personality or 3rd aspect: form green & orange rays 3 and 5, 1st first solar system
Soul or 2nd aspect: love/wisdom indigo-blue & yellow rays 2 and 4, 2nd this solar system
Monadic or 1st aspect: will (blue) red & violet rays 1 and 7, 3rd last solar system
We see this (‘confusion’ of) blue and red in terms of the 1st plane because
as shown in the BASIC COLOURS, the first, Logoic, or KEY Plane is BLUE
As Sol is the BLUE LOGOS because he is working on his 2nd system, 2nd or 6th aspect, Soul,
THAT WHICH builds upon the form or foundation of the Green or activity, 1st/3rd Personality system
Blue is the KEY note and goal.
A hint: p. 208:
a. "Just as the green of the activity of Nature
forms the basis of the love aspect, or the indigo vibration of this love system,
b. so will it be found upon the mental plane ...
c. flame, even exoterically, blends all the colours."
Thus:
a. The atmic/mastery/active intelligence (green, old s. system)
IS the 'basis' or foundation for the monadic/love-wisdom (indigo-blue, present s. system).
b. "so will it be found on the mental plane".
c. If we assign the BASIC COLOURS to the 1st, 2nd, and 3rd subplanes of the mental, we relate the
3rd subplane of the mental,
green, the foundation, achievement of previous ss, basis & natural start
for the causal body on the 2nd, indigo-wisdom and then on the
1st or Will’s vibration, which in this 2nd ss is Love-Blue.
Green is foundation of Indigo vibe in Love system.
THREE (activity) is foundation of TWO (monadic vibe) in this One system (logoic keynote of blue-love)
This helps solve the red/will/1st ray confusion with the blue 2nd, ray, as the 2nd is PRIMARY now.
(It is like Blue is … in the Red position, just like the CHRIST is HEAD, or in the leader position, of the Hierarchy.)
Now, to expand the plane relationships:
Cosmic Physical Plane is Violet … with possible chakra and quality correlations):
blue logoic will = love of the father (1 & 2, red/blue) HEART-LIFE
indigo monadic love = wisdom of mind and relation. HEAD/AJNA-CONSCIOUSNESS
green atmic intelligence = mastery of the Son in the 5 worlds, THROAT-ACTIVITY
yellow buddhic SPLEEN – “all need the vital AIR” (or AJNA – HEART IN HEAD?)
orange mental mentation, the Son/knowledge fallen into the 5th plane, SOLAR PLEXUS
red astral devotion, mother/’love’ fallen into the ocean of red blood -- SACRAL
(wherein the father will wash his robes white)
violet physical order, father's will fallen into the white light of the manifested worlds
(violet/white as exo/eso) BASE
5 Synthesis Colours
Red/white as synthesis of whole system of 7/1
Indigo as premiere synthesis (blue-indigo) for the 6 planes of Monadic achievement in 2nd ss)
Green for the 5 worlds soul-personality: 2+3 = 5 worlds (from atmic plane)
Orange for the 3 worlds of personality (emanates from 5th or mental plane)
Violet on the 1 plane, physical
“It [astral permanent atom, see p. 512 TCF] is in the direct line of active force emanating from the cosmic existence, and passing to it in ever-lessening degree, via the solar Logos in His system of love, and the planetary Logos within a scheme, the Dragon of Wisdom-Love.”
Or, the Violet
center of Indigo-Blue
system
(check final stanzas and all the purple and violet and blue
references … mentioned in my thesis.)
If we keep the same order for all planes (e.g. Blue is always THE logoic plane key) … then we see this in terms of Agni, the Cosmic Mental, Astral and Etheric planes:
|
Ray & Create Hierarchy * |
Cosmic Mental |
Cosmic Astral |
Cosmic Etheric |
Planetary rulers |
Comments |
|
Gemini |
Blue |
|
|
|
Gemini as Cosmic Christ Causal Body Solar Logoi = 1st |
|
Cancer |
Indigo |
|
|
|
|
|
Leo |
Green |
|
|
|
Causal Body of Planetary Logoi = 3rd |
|
Virgo |
Yellow |
|
|
|
|
|
Libra |
Orange |
|
|
|
|
|
Scorpio |
Red |
|
|
|
|
|
Sagittarius |
Violet |
|
|
|
|
|
Capricorn |
|
Blue |
|
|
|
|
Aquarius |
|
Indigo |
|
|
|
|
3 Pisces |
|
Green |
|
Pluto |
Polarisation of Venus |
|
4 Aries |
|
Yellow |
|
Uranus |
Polarisation of Earth |
|
5 Taurus |
|
Orange |
|
Vulcan |
|
|
6 Gemini |
|
Red |
|
Earth |
|
|
7 Cancer |
|
Violet |
|
Neptune |
|
|
1 Leo |
|
|
Blue |
Sun |
|
|
2 Virgo |
|
|
Indigo |
Jupiter |
Human Monad |
|
3 Libra |
|
|
Green |
Saturn |
|
|
4 Scorpio |
|
|
Yellow |
Mercury |
|
|
5 Capricorn |
|
|
Orange |
Venus |
Causal Body of Human |
|
6 Sagittarius |
|
|
Red |
Mars |
|
|
7 Aquarius |
|
|
Violet |
Moon |
|
* obviously there is conjecture here that the astrological signs repeat themselves, and Sag and Cap are not reversed ‘higher up’. Anyway, as an exercise.
Note in connection to Sagittarius/RED “falling”, related to red As we are working ‘towards’ the cosmic astral, and do not yet have experience of it (via Cancer, veiling the Christ) the astral is more like Life more Abundant, and indicative(?) of the next or Red solar system, so red is ill-expressed ‘down below’ and associated with the seas or astral plane, which will disappear. (“He will wash his robes white in the blood.”; there will “be no more sea”.) Further, Sag as related to red, Mars, kundalinishakti, lunar lords, who “took the fall” for Venus? – Orange as a blind? Sagittarius has ‘taken the fall’ for Capricorn, Also check relation to discipleship as an interim experiment, something which will not ‘always be’: disciples abnormal, earth’s amount of water unusual – but initiates always are … something here.)
For some tables … In terms of centers and planets, we may also apply this 3 + 4 colouration (of the planes, matter): blue - indigo - green + yellow, orange, red, violet
I think the centers and planets would at least be affected by this major colouration-structure of the Cosmic Planes, if not it being the same. This table below is based on Solar Septenary Chart–and as given for the OAWNMBS and SSSOWOIO charts sent to the Leo Probe group.
|
* chart w/ systemic & planetary |
|
|
Uranus |
|
|
Neptune |
|
|
Saturn |
|
|
Vulcan |
Neptune |
|
Venus |
Venus |
|
Mars |
Saturn |
|
Earth |
Earth |
|
Mercury |
Mercury |
|
Jupiter |
Mars |
|
Saturn |
Jupiter |
Another suggestive order is the systemic planes with their key colours as their logoic plane, as shown below for the lower three, or personality of Agni.
This is again in the LOM plane order, and remember: violet is key for the Etheric:
|
Planetary Center |
Systemic Mental |
Systemic Astral |
Systemic Etheric |
Note |
|
1 Uranus |
Orange |
red |
Violet |
These ‘fall together’ as Agni Personality |
|
2 Neptune |
Red/rose? |
violet |
Blue |
“mystery” w/ these 3: red/violet/blue |
|
3 Saturn-Eso |
Violet |
blue |
Indigo |