revise this introduction for grammar and coherency. For any areas that are unclear, make a note in a separate response for clarity:
This work is intended to provide a review of the work on color 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, so no undue elaboration will be undertaken upon the theories commonly held in those writings. I include my own questions, and original conjecture on this study. 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 relation¬ships 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.
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This work aims to provide a review of the theories on color by A. A. Bailey and H. P. Blavatsky. It assumes familiarity with their concepts and does not extensively elaborate on commonly held theories in their writings. However, this work may also be of interest to those who are not familiar with these doctrines but are willing to accept the author’s assumptions and work with color within a comprehensive system, which may seem complex or obscure to new investigators.
The Practice Chapters contain information that can be utilized without the need for philosophical background, and the suggestions can be used for creating meditative or practical experiments for personal, group, and global transformative work through visualization or the use of colored lights.
The author acknowledges that this is primarily a mental approach, occasionally influenced by intuition, and not based on any special sight or unusual sensing abilities. The writing style varies from matter-of-fact exoteric science to quoted references, conjecture, questioning, and sometimes exasperation. The use of color, bolding, and different font sizes is intended to enhance visual presentation and accessibility of the material.
The author has made assumptions about significances, emerging trends, original relationships, and correspondences, which are based on research and subjective surmises unless otherwise stated. Chapter 8 outlines the major questions and problem areas in esoteric color philosophy as the author understands them. The author hopes that this treatise will be useful, subject to testing and further development by peers and students.
revise the above with, adding humor and encouragement, while keeping a scholarly level of a research paper. ChatGPT
Welcome to the colorful world of A. A. Bailey and H. P. Blavatsky! In this work, we’ll dive into the theories on color presented by these esteemed thinkers. Now, hold on tight, because we won’t be getting into lengthy explanations of basic concepts assumed to be common knowledge in their writings. So, if you’re already familiar with their ideas, you’re in for a treat! But don’t worry if you’re new to this, we’ve got you covered too. You can totally join in on the fun and embrace my assumptions and musings about color within a comprehensive system, even if it might feel like navigating through a maze at times.
In fact, this work might just be your ticket to creating some mind-bending meditative or practical experiments for personal, group, and even global transformative work using visualizations and colored lights. We’ll take a mental approach here, with occasional hints of intuition (because who doesn’t love a little psychic flair?). But just to be clear, I don’t have any special sight or uncanny sensing abilities, and I don’t even visualize colors in the same way as other meditators or folks with vivid imaginations. So, you’re in good company if you’re like me!
Now, buckle up for a wild ride through a range of writing styles, from matter-of-fact exoteric science to quirky quotes, daring conjectures, pointed questions, and maybe even a touch of exasperation (because let’s face it, color theories can be puzzling!). But fear not, I’ve spiced things up with colors, bolding, and different font sizes to make it all visually appealing and accessible. Trust me, it’ll be a feast for your eyes!
And hey, I’ve taken some creative liberties here with assumptions, trends, relationships, and correspondences, all backed up by research and my own subjective surmises (unless I tell you otherwise, of course!). In fact, I’ve even outlined the major questions and challenges in esoteric color philosophy as I see them in Chapter 8, whether or not we’ve tackled them in the rest of this work. But my ultimate hope is that this treatise will be a valuable resource for you to test, build upon, and explore with your fellow curious minds. So, let’s dive in and unravel the enchanting world of color theories!
Continue in a similar light-hearted style, but also emphasize a scholarly approach to the material:
1. Overview 1.1. Foundational Comments: Intent and Scope • 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. 1.2 What is colour? 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.)
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- Overview
1.1. Foundational Comments: Intent and Scope
• To shed light on the colorful world of A. A. Bailey and H. P. Blavatsky’s teachings on color. • To present original charts, tables of correspondences, and compilations of color materials. • To explore potential applications of color in consciousness transmutation, healing, and other areas. • To outline the remaining questions and challenges in this field and provide a comprehensive reference for fellow researchers.
1.2 What is Color?
Physical and Linguistic-Cultural Considerations
Ah, color, the delightful phenomenon that adds vibrancy to our world! But what exactly is color? Well, from a physical standpoint, it’s all about how light tickles our visual senses and gets interpreted by our brain. So, it’s not really a physics thing, but more of a physiology thing. Our eyes and brains work together to create the magic of color.
Now, while color is a physiological phenomenon, it also affects our inner psychology. Just think about how certain colors can make you feel happy, calm, or energized. Plus, understanding the physics of color can help us put esoteric treatments of color into perspective and create intriguing analogies and logical connections.
When it comes to scientific color theory, we often attribute it to the groundbreaking work of Sir Isaac Newton in the 17th century. But there’s also another notable figure in the color game – Johannes von Goethe. His color theory, though less scientifically rigorous, offers a more intuitive and philosophical approach to color. But for our scholarly purposes, we’ll stick with Newton’s work.
Newton divided the spectrum into seven colors: Red, Orange, Yellow, Green, Blue, Indigo, and Violet, which we commonly recognize as the rainbow or electromagnetic spectrum. It’s interesting to note that the linguistic and cultural factors also play a crucial role in color research. Different languages and cultures have unique names for various colors, which can sometimes lead to intriguing differences in perception. For example, in Russian, there are two words for what we call “light blue” and “dark blue.” In Japanese, one word covers green, blue, or all dark stimuli. And in Welsh, one word can mean green, blue, grey, or brown. Talk about a colorful world of linguistic diversity!
But despite the linguistic variations, one thing that seems to be universal is the recognition of colors in terms of temperature – “warm” or “cool.” It’s a handy way to make distinctions, even for those who are color blind.
Now, in the esoteric doctrines, we primarily use the seven colors ascribed by Newton and commonly known in the Western world. However, it’s important to note that other color names are also used, such as turquoise, sapphire, ruby, azure, gold, rose, and so on. But I believe these are qualitative to the fundamental seven colors, which may hold some archetypal significance. It’s worth mentioning that the esoteric doctrines also suggest that during this major time period, there may be only four colors we can be certain of, and countless other colors that remain unknown to us. Colorful mysteries await!
So, buckle up, fellow researchers, as we embark on this scholarly yet vibrant journey into the world of color as presented by A. A. Bailey and H. P. Blavatsky. Get ready for some colorful surprises and insightful revelations! Let’s paint the town red, or blue, or green…you get the idea!
Continue as before, with a bit more scholarly or research tone:
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.
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Physiological considerations play a crucial role in understanding color perception. While there are three major receptors in the human eye commonly referred to as red, green, and blue cones, this does not imply that there are only three major colors. In reality, there is a continuum of wavelengths, and depending on the level of minute measurement of the wavelengths, there could be defined “a different color” for every wavelength. With normal color vision, which involves healthy cone receptors, humans are capable of recognizing violet at around 400 nanometers to red, which becomes invisible around 700 nanometers. This would mean that there are roughly 300 distinct wavelengths of color, although it is not clear if each one of these 1 nanometer differences can be discretely registered. However, this does not take into account the millions of recognizably different colors that humans perceive due to combining and blending, shading and tinting, and other optical effects.
In general, most people perceive four distinct divisions of color: red, yellow, green, and blue, as colors distinct in themselves and not due to blending. This perception of colors is regardless of whether people are aware that yellow and blue pigments make green or that red and green light make yellow. These four colors, red, yellow, green, and blue, impact most in the modern Western world as distinct colors.
In addition to the physiological aspects, color has significant cultural significance. Color is one of the first things we recognize about an object, and it serves as a primary descriptor for emotional states. For example, phrases like “he saw red,” “I felt blue,” “she was green with envy,” or “they view the world through rose-colored glasses” all use color to convey emotional states. In everyday language, color adds a quality or feeling to an object, and in our environments, the use of color is recognized for its impact on human emotions. For instance, restaurant designers may use colors like orange or red to stimulate appetite, while waiting rooms are often designed in subdued hues of relaxing blues or greens. Colors are also often referred to in terms of volume or texture, and how they interact with each other, such as “loud colors,” “soft colors,” or “clashing colors.” Artists, such as the Fauvists, were known for their use of wild and vibrant colors, pushing the limits of conventional expectations about what color was and how it should be used in painting.
While the aesthetic use of color is a source of beauty and emotional satisfaction for most people in modern cultures, there is evidence to suggest that the biological development of our color 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.
With these basic physiological and cultural considerations in place, it is important to lay the foundation of color theory in esoteric doctrines and explore its potential relation with physical or exoteric evidence. This will help deepen our understanding of the significance and impact of color in various aspects of human perception and experience.
continue as above. Indent quoted material:
1.3 Foundational References, and the Law of Correspondence and Mutation 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.
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1.3 Foundational References, and the Law of Correspondence and Mutation 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:
- 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.
- That he endeavours to make practical application of all indicated truth …
- 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
continue:
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.
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The understanding of color as a fundamental aspect of the evolutionary process, both on a macrocosmic and microcosmic scale, is emphasized in the doctrines. The Ahamkara, or the sense of a separated self, is seen as a limitation upon the wholeness of existence. The ultimate goal of evolution is to transcend this sense of separateness and achieve a state of oneness, symbolized by white light where all colors are blended into one.
The solar systems are seen as representing different stages of evolution, with the Green system of Intelligence being the first, the Blue system of Love being the current, and the future Red system of Power being the final stage where synthesis of all colors will result in white light. The planetary logos, or the local “god,” is also evolving and has its specific purpose related to color.
Cooperating with the purposes and methods of the planetary logos, especially in its final phase, is seen as crucial in inaugurating the New Age and furthering evolution. Color is considered a key method of power in aiding evolution, both for the logos and for the individual disciple. Colors are seen as expressions of force or quality, veiling the abstract qualities of the Logos, which are reflected in the microcosm as virtues or faculties. The practice of meditation is suggested as a means to bring forward these virtues and correspond them to colors in the life of the personality.
Further references and quotes supporting these ideas can be found throughout the thesis, indicating the significance of color in the esoteric teachings and its relation to the evolutionary process.
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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.
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The Principle of Mutation, as mentioned in A Treatise on Cosmic Fire, is an important aspect of understanding the Law of Correspondences. Since the universe is constantly evolving over time, the Principle of Mutation governs how relationships and correspondences change and evolve as well. This principle reminds us that what may have been true or relevant at one point in time may not necessarily be true or relevant at another point in time. It highlights the temporal aspect of correspondences and the need to consider the evolution of consciousness and the changing context of time and space.
The complexity of this subject can sometimes make it challenging to grasp and synthesize all the information. The treatise acknowledges that it may be more valuable to study the correlated material rather than delving too deeply into analysis and synthesis. Tabulation of facts, names, and outlines, and understanding their relationships through the Law of Correspondences, can be a key to comprehension.
In addition to abstract conjecture, the treatise also suggests finding correspondences and analogies in simple and obvious aspects of the physical world, such as the colors that surround us. The colors of the sky, rivers, seas, and the changing colors of nature throughout the seasons can serve as reminders and reflections of esoteric truths.
The treatise also recommends reviewing the Chapter on Color in Letters on Occult Meditation for further understanding and discrimination in interpreting research and conjecture. This suggests that exoteric science and esoteric fundamentals of color can complement each other and provide a well-rounded perspective on the subject matter at hand.
1.4 Science of Colour and Optics 1.4.1 Science and Colour A. The Electromagnetic Spectrum and the Ether B. Colour and Sound 1.4.2 Physiology of Light and Colour Sensation 1.4.3 Additive and Subtractive Colour and their Relationship 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.) 1.4.1 Science and Colour 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 under¬standing 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.
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1.4.1 Science and Colour
The understanding of light and colour has evolved over time through scientific inquiry. Early Greek philosophers, such as Pythagoras, believed that light came from visible objects and that vision came from the eye. Ptolemy, an Egyptian scientist, also believed in the outward emission of vision from the eye. However, later Greek philosophers, like Aristotle, proposed that the rainbow was a reflection from raindrops, indicating a more accurate understanding of light and colour.
Euclid, a Greek mathematician, understood the law of reflection and the properties of mirrors, while early thinkers observed refraction without fully understanding its mathematical law. It is important to note that early scientific knowledge may have been influenced by esoteric teachings, and it can be challenging to determine what was truly known by early investigators.
In modern times, our understanding of light and colour is based on the electromagnetic spectrum, which includes a range of wavelengths from radio waves to gamma rays. The electromagnetic spectrum also includes the visible spectrum of light, which is the range of wavelengths that are detectable by the human eye and correspond to different colours. This understanding is supported by physiological studies of the eye, which have shed light on how light and colour are perceived by the human visual system.
1.4.2 Physiology of Light and Colour Sensation
The physiology of the eye plays a crucial role in the perception of light and colour. The eye contains specialized cells called photoreceptors, which are responsible for detecting light and transmitting signals to the brain for visual processing. There are two main types of photoreceptors in the human eye: rods and cones.
Rods are responsible for vision in low light conditions and are more sensitive to dim light, but they do not differentiate between colours. Cones, on the other hand, are responsible for colour vision and function best in bright light. There are three types of cones that are sensitive to different wavelengths of light and are responsible for detecting red, green, and blue colours, which together allow us to perceive a wide range of colours.
The signals from photoreceptors are processed in the retina of the eye and transmitted to the brain through the optic nerve for further visual processing, resulting in the perception of light and colour.
1.4.3 Additive and Subtractive Colour and their Relationship
The interaction of light and colour can be understood through the concepts of additive and subtractive colour.
Additive colour refers to the mixing of different colours of light, such as on a computer screen or a television, where red, green, and blue light are combined to create a full range of colours. This is known as the RGB colour model, which is used in digital displays and electronic devices.
Subtractive colour, on the other hand, refers to the mixing of different pigments or dyes, such as in printing or painting. In this case, the colours are created by subtracting certain wavelengths of light from the reflected or transmitted light. This is known as the CMYK colour model, which is used in printing and other forms of media.
The relationship between additive and subtractive colour can be understood in terms of complementary colours, which are pairs of colours that, when combined, produce a neutral grey or white. For example, red and cyan (a shade of blue-green) are complementary colours in the additive colour model, while red and cyan are also complementary colours in the subtractive colour model.
Understanding the science of colour and optics can provide a foundation for exploring esoteric teachings and their correlations to scientific knowledge. It can also deepen our appreciation for the complexity and beauty of colour and its significance in our perception of the world.
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A. The Electromagnetic Spectrum 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”.
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The Electromagnetic Spectrum and the Ether
Now, let’s dive into the fascinating world of the electromagnetic spectrum, which includes visible light, the range of electromagnetic waves that we can see with our eyes. Believe it or not, color is our perceptual response to less than 1% of the total electromagnetic radiation emitted by the sun. Isn’t that amazing?
But before we delve deeper into the science of the electromagnetic spectrum, let’s take a moment to explore the concept of the ether, as mentioned in esoteric teachings. The early scientific proposal of an etheric medium required for the propagation of light has been disproven by Einstein, who showed that light can travel in a vacuum without the need for such a medium. However, esotericists may posit that there could still be a more subtle form of energy associated with higher subplanes of etheric matter, as mentioned in A.A. Bailey’s “Light on the Soul.”
In fact, it is suggested that the electromagnetic spectrum is directly associated with the fourth subplane of etheric material, as the sun is said to be composed of fourth etheric matter, according to the teachings of the Tibetan. It’s important to note that the scientists of the late 1800s and early 1900s were working with this level of understanding, which may have been disproven from an obvious assumption. Nonetheless, it’s intriguing to consider the relationship between the electromagnetic spectrum and the concept of etheric matter from an esoteric perspective.
Color and Sound – A Harmonious Connection
Did you know that color and sound are closely related? Just as we perceive color through the electromagnetic spectrum, we also experience sound through the vibration of air molecules or other mediums. The concept of color and sound as vibrations is not only scientifically supported but also finds resonance in esoteric teachings.
In fact, some esoteric doctrines suggest that color and sound are both manifestations of vibration, with color being the visible aspect of vibration and sound being the audible aspect. Just as different colors have different frequencies and wavelengths, different sounds also have different frequencies and wavelengths. This idea of color and sound as vibrations that are closely interconnected can lead to profound insights and analogies in the esoteric teachings.
The Physiology of Light and Color Sensation
Now, let’s shift our focus to the physiology of light and color sensation. Our eyes play a crucial role in our perception of color, and understanding how they work can provide us with valuable insights.
Early Greek philosophers, such as Pythagoras, believed that light issued forth from visible objects, and vision was thought to proceed outward from the eye. However, modern scientific knowledge of the eye suggests otherwise. The eye is a complex organ that receives and processes light, allowing us to perceive color and form images in our brain.
The retina, located at the back of the eye, contains specialized cells called cones that are responsible for detecting different colors of light. These cones are sensitive to specific wavelengths of light, and their signals are processed by the brain to create our perception of color. The way in which the cones are stimulated by different wavelengths of light determines the colors we see.
Additive and Subtractive Color
When it comes to understanding how colors combine and interact, we often encounter the concepts of additive and subtractive color. These concepts are fundamental to our understanding of color mixing and are used in various fields such as art, design, and technology.
Additive color refers to the mixing of colored light. When different colors of light are combined, they can create new colors. For example, when red, green, and blue light are combined, they create white light. This is the basis of how colors are displayed on electronic screens, such as computer monitors and televisions.
On the other hand, subtractive color refers to the mixing of pigments or dyes. When different
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When different colored lights are combined, they can produce new colors. This is called additive color mixing. For example, when red, green, and blue light are combined, they create white light. This is the principle behind color television and computer monitors, which use tiny dots of red, green, and blue light to create all the colors of the visible spectrum.
On the other hand, when pigments or dyes are mixed, the result is subtractive color mixing. This is because the pigments or dyes absorb certain wavelengths of light and reflect others. For example, when yellow and blue pigments are mixed, they create green because the yellow pigment absorbs blue light and the blue pigment absorbs red and green light, leaving only green to be reflected.
Understanding the principles of additive and subtractive color mixing is important in many fields, including art, design, and printing. By manipulating colors through these principles, it is possible to create a wide range of hues, shades, and tones.
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B. Colour and Sound Color and sound are two types of vibrational phenomena that we experience in our daily lives. While color is a visual experience, sound is an auditory experience. However, both can be understood in terms of their frequency and wavelength.
The range of sound frequencies audible to the human ear is typically between 20 Hz and 20,000 Hz. In contrast, the range of visible light frequencies is much higher, between 400 and 700 nanometers. The wavelength of sound is typically measured in meters or centimeters, while the wavelength of visible light is measured in nanometers.
Interestingly, some early scientists believed that color and sound were intimately connected. For example, Isaac Newton believed that each color of the spectrum was associated with a different musical note. However, this theory has since been disproven.
Despite this, there are still some interesting connections between color and sound. For example, the idea of synesthesia, where individuals experience a merging of their sensory perceptions, can result in the experience of hearing colors or seeing sounds.
Additionally, some researchers have explored the idea of using sound frequencies to influence our perception of color. This is based on the concept of resonance, where the vibrations of one object can influence the vibrations of another object. While more research is needed in this area, it suggests that there may be deeper connections between these two vibrational phenomena than we currently understand.
continue where last left off, after B. Colour and Sounds, start again at “spiritual growth”
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B. Colour and Sound
Sound and color are closely related in esoteric teachings, as both are considered to be expressions of vibration. Just as sound is the result of vibrations in the air, color is the result of vibrations in the etheric matter that surrounds and interpenetrates physical matter. The correlation between sound and color is sometimes depicted in diagrams of the musical scale, where each note is associated with a specific color.
In many spiritual traditions, sound and color are also associated with specific qualities or attributes, such as healing, purification, and spiritual upliftment. For example, in Hinduism, the sound “Om” is considered to be a sacred and powerful vibration that can lead to spiritual growth and enlightenment. Similarly, different colors are believed to have different effects on the body and mind, such as blue being associated with calming and soothing qualities, and red being associated with passion and energy.
1.4.2 Physiology of Light and Colour Sensation
The human eye is a complex organ that allows us to perceive light and color. Light enters the eye through the cornea and is focused by the lens onto the retina, which contains millions of light-sensitive cells called rods and cones. Rods are responsible for vision in low light conditions, while cones are responsible for color vision in bright light.
There are three types of cones in the retina that are sensitive to different wavelengths of light: red, green, and blue. When light enters the eye and stimulates these cones, they send signals to the brain, which processes the information and creates the perception of color.
1.4.3 Additive and Subtractive Colour and their Relationship
When different colors of light are mixed together, they can create new colors through either additive or subtractive processes.
Additive color mixing refers to the process of mixing different colors of light together to create a new color. For example, when red, green, and blue light are mixed together, they create white light. This is the basis for the color displays on computer screens and televisions, where tiny red, green, and blue lights are used to create a wide range of colors.
Subtractive color mixing, on the other hand, refers to the process of mixing different colors of pigments or dyes together to create a new color. When pigments or dyes are mixed, they absorb certain wavelengths of light and reflect others, creating the perception of a new color. For example, when yellow and cyan pigments are mixed together, they absorb red and reflect green and blue, creating the perception of green.
Understanding the science of color and optics can deepen our understanding of the esoteric teachings related to vibration, energy, and consciousness. It can also help us appreciate the beauty and complexity of the world around us, and the incredible ways in which our bodies and minds perceive it.
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Furthermore, the colors of the spectrum are said to have an impact on our emotions, moods, and even physical health. This is the basis of color therapy, which uses different colors to help balance and heal the body’s energy centers, or chakras. Each chakra is associated with a different color, and using color therapy can help bring balance to these energy centers.
In conclusion, the science of color and optics is a fascinating field that has both objective and subjective aspects. From the electromagnetic spectrum and the physiology of light and color sensation to additive and subtractive color and their relationship, the science of color is a complex and multifaceted subject. When combined with esoteric teachings, it can provide valuable insights into spiritual growth and understanding.