Do colors matter?

[Lala Nila]

13 hours ago, Nungali said:

Im now dying to know ... where do you live 

 

Spoiler

 

 

Yes, sorry I mis-read that....

 

2000km, meh...tis but a 2 day drive, but probably longer on that fancy Massey Ferguson of yours. hahaha

 

 

vroom vroom....

[Lala Nila]

11 hours ago, Kati said:

actually when i her that master speak of green, i can just agree with what he says. everything he says about the colour green, is a pendant for the power of the liver organ

 

The Gold Pavilion, Michael Saso has a chapter dedicated to the concept of using colours combined with yi and meditation to heal.

[Nungali]

10 hours ago, Lala Nila said:

 

  Hide contents

 

 

Yes, sorry I mis-read that....

 

2000km, meh...tis but a 2 day drive, but probably longer on that fancy Massey Ferguson of yours. hahaha

 

 

vroom vroom....

 

I am so glad you left the tractor grey !    But that suspension red indicates  a 'show off'   ! 

 

Now there is a 'farm wife '   !

 

I need one of those !

 

 

 

or even someones old granny they dont want anymore would do it 

 

  

Edited 21 hours ago by Nungali

[Nungali]

9 hours ago, Lala Nila said:

 

  Reveal hidden contents

 

 

Yes, sorry I mis-read that....

 

2000km, meh...tis but a 2 day drive, but probably longer on that fancy Massey Ferguson of yours. hahaha

 

 

vroom vroom....

 

 

I  just realised where that is from .... 

 

 

New York is where I'd rather stay.

I get allergic smelling hay.

I just adore a penthouse view.

Dah-ling I love you

but give me Park Avenue.

 

[Nungali]

Western magical color attributions  - 'Crowley'  ( but mostly ex- Hermetic order of the Golden Dawn ) ; 

 

(it was used to select the colors painted on the Enochian tablets . )

 

Spoiler

Notes to the Table of Correspondences

From 777, Aleister Crowley

COLUMN XV: THE KING SCALE OF COLOUR

The four scales of colours (Columns XV-XVIII) are attributed to the four letters of Tetragrammaton. The King Scale represents the root of colour; that is, a relation is asserted between the essential significance of colour in the Atziluthic world, and that of the path understood as well as possible, in the light especially of Columns II, VI and XIV. But the King Scale represents an essence of equal depth with the columns mentioned. It is an attribution of the same order as they; i.e. it is a primary expression of the essential ideas.

1. Brilliance represents the colourless luminosity of Kether.

2. The blue [Pure soft blue] is that of the sky (Masloth).

3. The crimson represents blood. Compare the symbolism of the Scarlet Woman and her Cup in Liber 418.

4. The deep violet is episcopal. It combines 2 and 3, a bishop being the manifestation of heavenly or starry existence manifested through the principle of blood or animal life.

5. The orange suggests the energy as opposed to other qualities of the Sun.

6. The rose [Clear pink rose] is that of dawn. The attribution therefore asserts the identity of the Sun and Horus and is thus implicated with the doctrine of the New Æon.

7. Amber represents the electric voluptuousness of Aphrodite. It suggests the tint of the skin of those women who are most enthusiastically consecrated to Venus.

8. Violet-purple. Should this not be lavender? Meditate.

9. The indigo is that of the Akasa (ether) and of the throat of Shiva. It represents the night sky blue of the nemyss of Thoth. This nemyss is the mysterious yet pregnant darkness which surrounds the generative process.

10. The yellow indicates Malkuth as the appearance which our senses attach to the solar radiance. In other words, Malkuth is the illusion which we make in order to represent to ourselves the energy of the universe.

THE ELEMENTAL COLOURS [King Scale]

These may be naturally derived from what has been said about Column XI, lines 1-10.

Scarlet [Glowing orange scarlet] naturally represents the activity of Fire,

blue [Deep blue] the passivity of Water,

while yellow [Bright pale yellow] is the balance between them.

Green [Emerald] is the middle colour of the spectrum and therefore the balanced receptacle of the totality of vibration.

Observe that the complementary of each of the pair of the colours of the active elements is the third. Thus red and blue make violet, whose complementary is yellow; and so on.

For the citrine, olive, russet, and black of earth, see the explanation under 10, Malkuth, in the Queen Scale (Column XVI). The pure earth, known to the ancient Egyptians in that Equinox of the Gods over which Isis presided, was green.

[Spirit. White merging into grey]

THE PLANETARY ATTRIBUTIONS [King Scale]

They follow the colours of the spectrum. They are the transparent as opposed to the reflected colours. They follow the order of the subtlety and spirituality of the vibration.

Thus the violet [Violet Purple] of Jupiter is definitely religious and creative,

which at the end of the scale the red [Scarlet] of Mars is physical, violent and gross.

Between these we have Saturn whose indigo represents the sobriety and deep-sea calmness of meditation, Saturn being the eldest of the Gods.

Luna is blue; representing purity, aspiration and unselfish love.

The green [Emerald Green] of Venus suggests the vibration of vegetable growth. It is the intermediate stage between the definitely spiritual and the definitely intellectual and emotional type of vibration. In the "rods and cones" attribution green is the central colour, the pure passivity absorbing all: as Venus combines all the Sephiroth in one symbol.

The yellow of Mercury suggests the balanced but articulate movement of the mind.

The orange of Sol is the intense but gross physical vibration of animal life.

The above represents merely one of an indefinitely large number of interpretations which may be derived from meditation on this attribution.

THE ZODIACAL ATTRIBUTIONS [King Scale]

The Zodiacal colours proceed systematically from the Scarlet of Aries to the violet of Aquarius.

The colour which completes the circle is described as crimson [crimson (ultra violet)], and is attributed to Pisces, the allusion being to the relation of Pisces with Binah through the ATU XVIII, the Moon, in which also is shown the pool of midnight through which Kephra travels in his bark; and this suggests the Night of Pan which hangs over the City of the Pyramids.

Aries is scarlet, being the House of Mars and the sign of the Spring Equinox, where occurs the fiery outburst of the new year.

Taurus is red-orange, suggesting the red earth of which man (who is Taurus, Vau, Microprosopus, the Son) is made, the orange indicating the Solar influence and the energy of Geburah.

Gemini is orange, since ATU VI shows the Solar twins Vau HÈ.

Cancer is amber, the connection being with Netzach, Venus in her less spiritual form being the chariot or vehicle through which the influence of the Supernal Mother is conveys to man. In this chariot is borne the Sangraal or Cup of Babalon which connects the symbolism with the legend of Parsifal and the visions of Liber 418. The ideas of love and electricity are implicit in this sign, which is ruled by the Moon and in which Jupiter is exalted.

Leo is pure yellow, yet with that tinge of green [Yellow, greenish] which is characteristic of the purest gold. It suggests the first form of the principle of vegetable growth, implicit in the nature of the Solar ray.

Virgo has the yellowish green [Green, yellowish] of young grass. The connection is evident.

Libra is emerald green, being pre-eminently the house of Venus.

Scorpio is the greenish blue [green blue] — Prussian blue — whose psychological effect upon the sensitive mind is to suggest a poisonous or putrafactive vibration. It contains the idea of life and death interpenetrating each other and reproducing each other continuously; always with the accompaniment of a certain morbid pleasure. It is the identification which one finds in Swinburne's best poems: "The Garden of Proserpine", "Dolores", "Illicet", "Anactoria", and others. The natural correspondence is the blue-green sea. * [One of Swinburne's favourite sources of metaphors. - T.S.]

Sagittarius is blue; being the House of Jupiter, which is blue in the Queen Scale. It is also the blue of the sky, for Sagittarius is the background of the Rainbow symbolism of Q Sh Th. It is further connected with the blue of religious aspiration. It continues the path of Gimel. It is the aspiration from Yesod to Tiphereth as Gimel is from Tiphereth to Kether. Note that the aspiration from Malkuth is dark blue: it being so low on the Tree its purity is to some extent darkened.

Capricornus is indigo. The connection is with the colour of Yesod, implying the sexual symbolism of the Goat.

Aquarius is violet: this is connected with ATU XVII. Cf. The Book of the Law, I, 61-64. The colour violet, generally speaking, signifies a vibration which is at the same time spiritual and erotic; i.e. it is the most intense of the vibrations alike on the planes of Nephesch and Neschamah. Compare at the other end of the scale the connection between the vibrations of Mars and those of the Sangraal.

COLUMN XVI: THE QUEEN SCALE

This scale represents the first positive appearance of colour: as the King Scale is transparent, the Queen is reflected. (Spectra.)

1-3. In this scale, therefore, we read the appearance of the 32 paths as they are found in Nature.

Kether, being previously unconditioned brilliance, is now articulate as white [White brilliance].

The grey of Chokmah refers to the cloudy appearance of semen, and indicates the transmission of white to black. It is the double nature of the Dyad.

Binah is black, having the faculty of absorbing all colours.

In the three Supernals, therefore, we find the 3 possible modifications of light, in its wholeness. Above the abyss there is no separation into colour.

4. Chesed has the blue of water

5. Geburah has the red [Scarlet red] of fire.

6. Tiphereth the yellow [Yellow (gold)] of air.

(These being the 3 primary colours of reflected light, as opposed to the violet, green and blue of transparent light.)

The colours of the 3rd triad are derived from those of the 2nd by simple admixture.

7. Netzach. Emerald is Chesed and Tiphereth mingled. It is also the colour of Venus.

8. Hod. Orange is Tiphereth and Geburah mingled.

9. Yesod. Violet is Chesed and Geburah mingled

Netzach and Hod are naturally the resultant of the two Sephiroth which impinge on them respectively, while Yesod represents a secondary effect of the conjunction of Geburah and Chesed, Tiphereth being the primary. Emerald represents the most brilliant aspect of Venus; orange that of Mercury. Violet of the very complex formula synthesizes Yesod in the idea of Luna. Note that Sol and Luna are direct images of the masculine and feminine principles, and much more complete Macrocosms than any other planets. This is explained by their symbols in the Yi King, 5 and 2. Note also that Yesod appears openly, this being the Queen Scale, in the violet robes of the spiritual-erotic vibrations referred to above.

10. Malkuth. Just as the third Triad combines the colours of the second Triad by pairs, so does Malkuth in a yet more complete manner. Citrine combines blue, red and yellow with a predominance of yellow; olive, with a predominance of blue; russet, with a predominance of red; and these represent respectively the airy, watery, and fiery subelements. Black is the earthy part of Earth. But here we observe a phenomenon compatible with that found in the Tarot, where the four Empresses (symbolical of HÈ final) are the throne of the Spirit as well as being the ultimate recipients of the force of King, Queen, and Emperor. The black is the link between the lowest conception, the climax of the degeneration of pure colour in the final assimilation of light, and the black of Binah. It is the lowest part of the daughter which contains in darkness the identity with the Pure Mother, to set her upon whose throne is one definite image of the Great Work. See also the 27th Symbol in Liber XXVII; ["[three open lines] Therefore was the end of it sorrow; yet in that sorrow a sixfold star of glory whereby they might see to return unto the stainless Abode; yea, unto the Stainless Abode."] the ultimate of the feminine symbols, the complete dissociation of existence, the final disappearance of all positive ideas, but this is found to be essentially identical with the perfection of the continuum. [No explanation of the elemental colours of the Queen scale appeared in the printed edition. At least part of the reference, though, seems to be to the corresponding Tattwa symbol: see Col. LXXV in the main table. - T.S.]

[THE PLANETARY ATTRIBUTIONS Queen Scale]

The planetary colours are connected chiefly with the sacred metals as observed clairvoyantly, or considered in respect of their astrological and alchemical character.

Mercury is purple suggesting the iridescence of quicksilver and the blue of Mercury vapour.

Luna is silver, the apparent colour of the Moon in the sky, and of the metal to which she is attributed.

Venus is sky-blue; this is possibly a reference to copper sulphate, an important salt in alchemy; but principally because sky-blue naturally suggests the more frivolous aspects of love.

The blue of Jupiter refers to the blue of the sky, his dominion, and to the appropriate colour of religious aspiration.

Mars is red on account of the colour of rust, and of the use of iron in executing the pure will; whether by sword, spear or machine.

Sol is yellow [Gold yellow], the apparent colour of the sun, and of the metal gold.

Saturn is black with reference to Binah, the sphere of Saturn, to the Night of Pan (see Liber 418 in Equinox I, 5), to the blackness of oblivion (Saturn being Time), and to the blackness of the Tamoguna, Saturn representing the inactivity of old age.

[THE ZODIACAL ATTRIBUTIONS Queen Scale]

Zodiacal colours are less obvious in their attribution. In fact it will be best to take this part of the column for what it may be worth as an uninitiated tradition. I am myself unable to attach any serious and important meaning to the majority of the symbols. At most, one can say that the colour of the scale represents the degeneration of the Key Scale.

E.g. in the case of Aries, red represents a mere dulling of the previous scarlet.

The deep indigo of Taurus suggests the laborious sadness of the brute part of man;

[Gemini. Pale Mauve]

[Cancer. Maroon]

[Leo. Deep purple]

the slate-green [slate grey] of Virgo may refer to the apparent ennui or colourless melancholy of the hermit life.

[Libra. Blue]

[Scorpio. Dull brown]

[Sagittarius. Yellow]

The black of Capricorn refers to the popular idea of ATU XV;

[Aquarius. Sky blue]

while the attribution of Pisces [Buff, flecked silver-white] may refer to the actual appearance of some fish, or to certain phenomena characteristic of the astral plane.

COLUMN XVII: THE EMPEROR SCALE

The scale of the Emperor is derived from the two previous scales by simple admixture, as of colours on a palette for the most part.

COLUMN XVIII: THE EMPRESS SCALE

The scale of the Empress is, generally speaking, either a degeneration from the scale of the Emperor or a complementary attribution, HÈ being the twin of Vau. But in each case there is an added brightness whose source must be discovered by meditation. This brightness is a phenomenon compatible to that described above in connection with the Empresses being the thrones of the Spirit, and Malkuth being the extreme departure from the perfection of the Supernals, and so the link through which the redemption of the whole complex substructure below the Abyss may be accomplished.

The colours of the Empress Scale are combinations of two or more colours. The best may be considered as derived from the three previous scales, and the flecks or rays as representative of the bridegroom who is appointed to bring the Empress to perfection thus.

1. White flecked gold. The white is a reflection of the white brilliance of Kether; but the gold is an ornament, and thus indicates the mystery of the Holy Guardian Angel, who finds added perfection when invoked by his client, the gold of Tiphereth.

2. [White, flecked red, blue, and yellow] Red, blue, and yellow are the results of the creative energy of Chokmah and their white basis signifies that Chokmah has been perfected by fulfilling his function in this way. Also, the robe of the perfected Osiris is white flecked with red, blue, and yellow.

3. [Grey flecked pink] As the grey of Chokmah was perfected to the white of Kether, so the black of Binah is perfected to the grey of Chokmah. The grey is flecked with the pink of Tiphereth. This is the dawn of the child with which she is heavy, for this is the symbol of her perfection.

4. [Deep azure, flecked yellow] Deep azure represents Jupiter and Water. It is flecked with yellow. This represents religious meditation; the yellow flecks are the first marks of ecstasy.

5. [Red, flecked black] Red is the most passive shade of the scarlet of the two former scales. The black flecks show that in its perfection it receives the influence of Binah, the Supernal immediately above it in the Tree.

6. Gold amber suggests the mellowness of harvest, which is the perfection of the rose-pink of dawn, the spring of the day.

7. [Olive, flecked gold] There seems a possible reference to Semele; and the general idea is that Netzach has been brought to a quiet harmonious tone and is receiving the influence of Tiphereth.

8. [Yellow-brown, flecked white] This is a mystery of Mercury, improper to indicate clearly. [A hint may perhaps be found in Liber 415, "Opus Lutetianum." - T.S.][From Liber 415 "Semen itself is Mercury"] Yellowish brown flecked white.

9. [Citrine, flecked azure] Citrine represents the final modification of Yesod, the airy nature at last appearing. The azure flecks are derived from Chesed - perhaps through Netzach; or from Sagittarius, the path joining it with Tiphereth.

10. [Black rayed with yellow] Malkuth has been set upon the throne of Binah; and the rays of the bridgegroom Tiphereth flood her with Gold. Black rayed yellow.

THE ELEMENTS [Empress Scale]

11. [Emerald, flecked gold] Air has been made fertile, so that the golden flecks of the Sun are able to illumine it. Air is naturally barren. The green represents the Lotus on which Harpocrates is seated, or from which he is born.

23. [White, flecked purple, like mother-of-pearl] The perfection of Water is indicated by its iridescence. This is the alchemical symbolism.

31. [Vermilion, flecked crimson and emerald] Fire, being pure, retains its original vermillion; but it has become capable of being the home of the crimson and emerald of Binah and her sphere of joy, Venus. It is no longer a destructive element, but the proper abode of Love, both in its higher and lower forms.

32 bis. [Black, flecked yellow] Earth is identical with Malkuth, save that the rays are now flecks. The symbolism is similar.

31 bis. [White, red, yellow, blue, black (the latter outside)] Spirit manifests the scale of five colours as shown on the Uræus Wand. (The Equinox I (3), p. 211.) * [The reference is to the wand of the Chief Adept in the Adeptus Minor ritual of the R.R. et A.C. It is topped by a winged globe with two UrÊus serpents descending from it, the shaft is coloured white, red, blue, yellow and black for the Elements. - T.S.] Its perfection is to complete itself in the Pentagram. The mystery is similar to that mentioned in connection with 1 above.

THE PLANETS [Empress Scale]

12. Mercury [Indigo, rayed violet]. Mercury's perfection is to still and concentrate thought, until it becomes deep red through which runs the violet vibration of spiritual-erotic ecstasy. (Note that the great defect of Mercury is its coldbloodedness).

13. Luna [Silver, rayed sky blue]. The original chastity of the Moon is tinged with Love.

14. Venus [Bright rose or cerise, rayed pale green]. The defect of Venus is its tendency to romance (rose or cerise) "External Splendour" Nogah. It is perfected by reality and usefulness — the emerald of vegetable life and growth.

21. Jupiter [Bright blue, rayed yellow]. The religious devotion of Jupiter is rewarded by the yellow rays of the Holy Guardian Angel.

27. Mars [Bright red, rayed azure or emerald]. The energy of Mars has been subdued until it is a proper bases for the blue and green rays of vegetable and spiritual life. (Cf. under "31. Fire," above.)

30. Sol [Amber, rayed red]. The perfection of Sol is its fixation in the amber of Cancer by elevation at the summer solstice. In this it receives the adornment of pure physical energy, Fire. The red is purer than the orange, being of the incorruptible element.

32. Saturn [Black, rayed blue]. The perfection of Saturn is its identification with Binah. It has, so to speak, made good its position above the Abyss. It is adorned with the blue rays of the King Scale of Chokmah. The symbol implies that Time, the Destroyer, has been transmuted into the condition of the operation of the Great Work, i.e. the marriage of Chokmah and Binah.

THE ZODIAC [Empress Scale]

15. Aries [Glowing red]. Controlled fire as in a furnace.

16. Taurus [Rich brown]. Rich fertile earth.

17. Gemini [Reddish grey inclined to mauve] is perfected by active thoughts, aimed and tinged by spiritual intention.

18. Cancer [Dark greenish brown]. See Liber 418 (Equinox I, 5) on the Mysteries of Magister Templi. The blood in the Cup of Babalon has dried to brown in which the vegetable, impersonal, and immortal life lurks.

19. Leo [Reddish amber]. Fire is infused evenly in the Lion, thus correcting his tendency to impulse.

20. Virgo [Plum colour]. The perfection of virginity is fruitfulness.

22. Libra [Pale green]. Retains the love of its ruler Venus, but this is purified of its grossness.

22. Scorpio [Livid indigo brown (like a black beetle)]. The vivid watery vibration of putrefaction assumes the hue of the beetle Kephra. The perfection of Scorpio is to bring corruptibility through its midnight.

25. Sagittarius [Dark vivid blue]. The virgin huntress is brought from her superficiality by becoming the huntress Babalon. The deep vivid blue is to be connected with the ideas of water (the Great Sea of Binah) and Chesed, the image of that sea below the Abyss.

26. Capricornus [Cold dark grey, approaching black]. The colour combines Chokmah and Binah, and is very dark. The Great Attainment is symbolized by the marriage.

28. Aquarius [White tinged purple] is the Kerub of the Man; and his perfection is to attain the purity of Kether (white) tinged with the purple or violet vibrations explained above.

29. Pisces [Stone color] is the symbol of the Astral Plane. (See ATU XVIII.) Its defect is glamour and illusion. It has now been brought to a mental equilibrium signifying the adaptability of the ether to receive and transmit all types of vibration.

MINUTUM MUNDUM

A General Note on Columns XV-XVIII, the Four Scales of Colour

You can use the four scales of colour as you choose. The only thing to remember is the attribution, the Tetragrammaton.

The Sephiroth are given in the King's Scale and the paths in the Queen's Scale [The other way round is more usual. - T.S.] in accordance with the general law of balance. You must never have a masculine sticking out by itself without a feminine to equilibrate it.

The Sephiroth are definitely positive ideas. The numbers are "Things in Themselves," much more so that the letters of the alphabet. The paths are merely the links between the Sephiroth.

Of course the idea of balance is carried into the Sephiroth themselves. The number 4 is masculine in its relation with number 5, feminine in its relation with number 3.

You cannot go wrong as long as you keep always this idea of balance in the forefront of your mind. Whenever one thing goes on to another thing, there must always be this opposition, and equilibrium. You can apply this to every point that comes up in practical working. It is always possible to refer any system of symbols to the Tree of Life merely by Tetragrammaton, or indeed to any of the fundamental systems of classification. It is a very useful exercise to practice this type of analysis. Take, for example, the letter Daleth, and note all is correspondences. For instance, you get at once the equation 4 = 7, for the numerical of Daleth is 4, while 7 is of Venus.

The more thoroughly you practice this the nearer you will come to the completely automatic subconscious understanding of the essence of any given symbol.

[brackets indicate notes either of T.S. or myself, S.W. I make note of the 777 color name where Crowley's notes omit the color name or indicate a different name]

 

Edited 21 hours ago by Nungali

[Lala Nila]

36 minutes ago, Nungali said:

Western magical color attributions  - 'Crowley'  ( but mostly ex- Hermetic order of the Golden Dawn ) ; 

 

(it was used to select the colors painted on the Enochian tablets . )

 

  Reveal hidden contents

Notes to the Table of Correspondences

From 777, Aleister Crowley

COLUMN XV: THE KING SCALE OF COLOUR

The four scales of colours (Columns XV-XVIII) are attributed to the four letters of Tetragrammaton. The King Scale represents the root of colour; that is, a relation is asserted between the essential significance of colour in the Atziluthic world, and that of the path understood as well as possible, in the light especially of Columns II, VI and XIV. But the King Scale represents an essence of equal depth with the columns mentioned. It is an attribution of the same order as they; i.e. it is a primary expression of the essential ideas.

1. Brilliance represents the colourless luminosity of Kether.

2. The blue [Pure soft blue] is that of the sky (Masloth).

3. The crimson represents blood. Compare the symbolism of the Scarlet Woman and her Cup in Liber 418.

4. The deep violet is episcopal. It combines 2 and 3, a bishop being the manifestation of heavenly or starry existence manifested through the principle of blood or animal life.

5. The orange suggests the energy as opposed to other qualities of the Sun.

6. The rose [Clear pink rose] is that of dawn. The attribution therefore asserts the identity of the Sun and Horus and is thus implicated with the doctrine of the New Æon.

7. Amber represents the electric voluptuousness of Aphrodite. It suggests the tint of the skin of those women who are most enthusiastically consecrated to Venus.

8. Violet-purple. Should this not be lavender? Meditate.

9. The indigo is that of the Akasa (ether) and of the throat of Shiva. It represents the night sky blue of the nemyss of Thoth. This nemyss is the mysterious yet pregnant darkness which surrounds the generative process.

10. The yellow indicates Malkuth as the appearance which our senses attach to the solar radiance. In other words, Malkuth is the illusion which we make in order to represent to ourselves the energy of the universe.

THE ELEMENTAL COLOURS [King Scale]

These may be naturally derived from what has been said about Column XI, lines 1-10.

Scarlet [Glowing orange scarlet] naturally represents the activity of Fire,

blue [Deep blue] the passivity of Water,

while yellow [Bright pale yellow] is the balance between them.

Green [Emerald] is the middle colour of the spectrum and therefore the balanced receptacle of the totality of vibration.

Observe that the complementary of each of the pair of the colours of the active elements is the third. Thus red and blue make violet, whose complementary is yellow; and so on.

For the citrine, olive, russet, and black of earth, see the explanation under 10, Malkuth, in the Queen Scale (Column XVI). The pure earth, known to the ancient Egyptians in that Equinox of the Gods over which Isis presided, was green.

[Spirit. White merging into grey]

THE PLANETARY ATTRIBUTIONS [King Scale]

They follow the colours of the spectrum. They are the transparent as opposed to the reflected colours. They follow the order of the subtlety and spirituality of the vibration.

Thus the violet [Violet Purple] of Jupiter is definitely religious and creative,

which at the end of the scale the red [Scarlet] of Mars is physical, violent and gross.

Between these we have Saturn whose indigo represents the sobriety and deep-sea calmness of meditation, Saturn being the eldest of the Gods.

Luna is blue; representing purity, aspiration and unselfish love.

The green [Emerald Green] of Venus suggests the vibration of vegetable growth. It is the intermediate stage between the definitely spiritual and the definitely intellectual and emotional type of vibration. In the "rods and cones" attribution green is the central colour, the pure passivity absorbing all: as Venus combines all the Sephiroth in one symbol.

The yellow of Mercury suggests the balanced but articulate movement of the mind.

The orange of Sol is the intense but gross physical vibration of animal life.

The above represents merely one of an indefinitely large number of interpretations which may be derived from meditation on this attribution.

THE ZODIACAL ATTRIBUTIONS [King Scale]

The Zodiacal colours proceed systematically from the Scarlet of Aries to the violet of Aquarius.

The colour which completes the circle is described as crimson [crimson (ultra violet)], and is attributed to Pisces, the allusion being to the relation of Pisces with Binah through the ATU XVIII, the Moon, in which also is shown the pool of midnight through which Kephra travels in his bark; and this suggests the Night of Pan which hangs over the City of the Pyramids.

Aries is scarlet, being the House of Mars and the sign of the Spring Equinox, where occurs the fiery outburst of the new year.

Taurus is red-orange, suggesting the red earth of which man (who is Taurus, Vau, Microprosopus, the Son) is made, the orange indicating the Solar influence and the energy of Geburah.

Gemini is orange, since ATU VI shows the Solar twins Vau HÈ.

Cancer is amber, the connection being with Netzach, Venus in her less spiritual form being the chariot or vehicle through which the influence of the Supernal Mother is conveys to man. In this chariot is borne the Sangraal or Cup of Babalon which connects the symbolism with the legend of Parsifal and the visions of Liber 418. The ideas of love and electricity are implicit in this sign, which is ruled by the Moon and in which Jupiter is exalted.

Leo is pure yellow, yet with that tinge of green [Yellow, greenish] which is characteristic of the purest gold. It suggests the first form of the principle of vegetable growth, implicit in the nature of the Solar ray.

Virgo has the yellowish green [Green, yellowish] of young grass. The connection is evident.

Libra is emerald green, being pre-eminently the house of Venus.

Scorpio is the greenish blue [green blue] — Prussian blue — whose psychological effect upon the sensitive mind is to suggest a poisonous or putrafactive vibration. It contains the idea of life and death interpenetrating each other and reproducing each other continuously; always with the accompaniment of a certain morbid pleasure. It is the identification which one finds in Swinburne's best poems: "The Garden of Proserpine", "Dolores", "Illicet", "Anactoria", and others. The natural correspondence is the blue-green sea. * [One of Swinburne's favourite sources of metaphors. - T.S.]

Sagittarius is blue; being the House of Jupiter, which is blue in the Queen Scale. It is also the blue of the sky, for Sagittarius is the background of the Rainbow symbolism of Q Sh Th. It is further connected with the blue of religious aspiration. It continues the path of Gimel. It is the aspiration from Yesod to Tiphereth as Gimel is from Tiphereth to Kether. Note that the aspiration from Malkuth is dark blue: it being so low on the Tree its purity is to some extent darkened.

Capricornus is indigo. The connection is with the colour of Yesod, implying the sexual symbolism of the Goat.

Aquarius is violet: this is connected with ATU XVII. Cf. The Book of the Law, I, 61-64. The colour violet, generally speaking, signifies a vibration which is at the same time spiritual and erotic; i.e. it is the most intense of the vibrations alike on the planes of Nephesch and Neschamah. Compare at the other end of the scale the connection between the vibrations of Mars and those of the Sangraal.

COLUMN XVI: THE QUEEN SCALE

This scale represents the first positive appearance of colour: as the King Scale is transparent, the Queen is reflected. (Spectra.)

1-3. In this scale, therefore, we read the appearance of the 32 paths as they are found in Nature.

Kether, being previously unconditioned brilliance, is now articulate as white [White brilliance].

The grey of Chokmah refers to the cloudy appearance of semen, and indicates the transmission of white to black. It is the double nature of the Dyad.

Binah is black, having the faculty of absorbing all colours.

In the three Supernals, therefore, we find the 3 possible modifications of light, in its wholeness. Above the abyss there is no separation into colour.

4. Chesed has the blue of water

5. Geburah has the red [Scarlet red] of fire.

6. Tiphereth the yellow [Yellow (gold)] of air.

(These being the 3 primary colours of reflected light, as opposed to the violet, green and blue of transparent light.)

The colours of the 3rd triad are derived from those of the 2nd by simple admixture.

7. Netzach. Emerald is Chesed and Tiphereth mingled. It is also the colour of Venus.

8. Hod. Orange is Tiphereth and Geburah mingled.

9. Yesod. Violet is Chesed and Geburah mingled

Netzach and Hod are naturally the resultant of the two Sephiroth which impinge on them respectively, while Yesod represents a secondary effect of the conjunction of Geburah and Chesed, Tiphereth being the primary. Emerald represents the most brilliant aspect of Venus; orange that of Mercury. Violet of the very complex formula synthesizes Yesod in the idea of Luna. Note that Sol and Luna are direct images of the masculine and feminine principles, and much more complete Macrocosms than any other planets. This is explained by their symbols in the Yi King, 5 and 2. Note also that Yesod appears openly, this being the Queen Scale, in the violet robes of the spiritual-erotic vibrations referred to above.

10. Malkuth. Just as the third Triad combines the colours of the second Triad by pairs, so does Malkuth in a yet more complete manner. Citrine combines blue, red and yellow with a predominance of yellow; olive, with a predominance of blue; russet, with a predominance of red; and these represent respectively the airy, watery, and fiery subelements. Black is the earthy part of Earth. But here we observe a phenomenon compatible with that found in the Tarot, where the four Empresses (symbolical of HÈ final) are the throne of the Spirit as well as being the ultimate recipients of the force of King, Queen, and Emperor. The black is the link between the lowest conception, the climax of the degeneration of pure colour in the final assimilation of light, and the black of Binah. It is the lowest part of the daughter which contains in darkness the identity with the Pure Mother, to set her upon whose throne is one definite image of the Great Work. See also the 27th Symbol in Liber XXVII; ["[three open lines] Therefore was the end of it sorrow; yet in that sorrow a sixfold star of glory whereby they might see to return unto the stainless Abode; yea, unto the Stainless Abode."] the ultimate of the feminine symbols, the complete dissociation of existence, the final disappearance of all positive ideas, but this is found to be essentially identical with the perfection of the continuum. [No explanation of the elemental colours of the Queen scale appeared in the printed edition. At least part of the reference, though, seems to be to the corresponding Tattwa symbol: see Col. LXXV in the main table. - T.S.]

[THE PLANETARY ATTRIBUTIONS Queen Scale]

The planetary colours are connected chiefly with the sacred metals as observed clairvoyantly, or considered in respect of their astrological and alchemical character.

Mercury is purple suggesting the iridescence of quicksilver and the blue of Mercury vapour.

Luna is silver, the apparent colour of the Moon in the sky, and of the metal to which she is attributed.

Venus is sky-blue; this is possibly a reference to copper sulphate, an important salt in alchemy; but principally because sky-blue naturally suggests the more frivolous aspects of love.

The blue of Jupiter refers to the blue of the sky, his dominion, and to the appropriate colour of religious aspiration.

Mars is red on account of the colour of rust, and of the use of iron in executing the pure will; whether by sword, spear or machine.

Sol is yellow [Gold yellow], the apparent colour of the sun, and of the metal gold.

Saturn is black with reference to Binah, the sphere of Saturn, to the Night of Pan (see Liber 418 in Equinox I, 5), to the blackness of oblivion (Saturn being Time), and to the blackness of the Tamoguna, Saturn representing the inactivity of old age.

[THE ZODIACAL ATTRIBUTIONS Queen Scale]

Zodiacal colours are less obvious in their attribution. In fact it will be best to take this part of the column for what it may be worth as an uninitiated tradition. I am myself unable to attach any serious and important meaning to the majority of the symbols. At most, one can say that the colour of the scale represents the degeneration of the Key Scale.

E.g. in the case of Aries, red represents a mere dulling of the previous scarlet.

The deep indigo of Taurus suggests the laborious sadness of the brute part of man;

[Gemini. Pale Mauve]

[Cancer. Maroon]

[Leo. Deep purple]

the slate-green [slate grey] of Virgo may refer to the apparent ennui or colourless melancholy of the hermit life.

[Libra. Blue]

[Scorpio. Dull brown]

[Sagittarius. Yellow]

The black of Capricorn refers to the popular idea of ATU XV;

[Aquarius. Sky blue]

while the attribution of Pisces [Buff, flecked silver-white] may refer to the actual appearance of some fish, or to certain phenomena characteristic of the astral plane.

COLUMN XVII: THE EMPEROR SCALE

The scale of the Emperor is derived from the two previous scales by simple admixture, as of colours on a palette for the most part.

COLUMN XVIII: THE EMPRESS SCALE

The scale of the Empress is, generally speaking, either a degeneration from the scale of the Emperor or a complementary attribution, HÈ being the twin of Vau. But in each case there is an added brightness whose source must be discovered by meditation. This brightness is a phenomenon compatible to that described above in connection with the Empresses being the thrones of the Spirit, and Malkuth being the extreme departure from the perfection of the Supernals, and so the link through which the redemption of the whole complex substructure below the Abyss may be accomplished.

The colours of the Empress Scale are combinations of two or more colours. The best may be considered as derived from the three previous scales, and the flecks or rays as representative of the bridegroom who is appointed to bring the Empress to perfection thus.

1. White flecked gold. The white is a reflection of the white brilliance of Kether; but the gold is an ornament, and thus indicates the mystery of the Holy Guardian Angel, who finds added perfection when invoked by his client, the gold of Tiphereth.

2. [White, flecked red, blue, and yellow] Red, blue, and yellow are the results of the creative energy of Chokmah and their white basis signifies that Chokmah has been perfected by fulfilling his function in this way. Also, the robe of the perfected Osiris is white flecked with red, blue, and yellow.

3. [Grey flecked pink] As the grey of Chokmah was perfected to the white of Kether, so the black of Binah is perfected to the grey of Chokmah. The grey is flecked with the pink of Tiphereth. This is the dawn of the child with which she is heavy, for this is the symbol of her perfection.

4. [Deep azure, flecked yellow] Deep azure represents Jupiter and Water. It is flecked with yellow. This represents religious meditation; the yellow flecks are the first marks of ecstasy.

5. [Red, flecked black] Red is the most passive shade of the scarlet of the two former scales. The black flecks show that in its perfection it receives the influence of Binah, the Supernal immediately above it in the Tree.

6. Gold amber suggests the mellowness of harvest, which is the perfection of the rose-pink of dawn, the spring of the day.

7. [Olive, flecked gold] There seems a possible reference to Semele; and the general idea is that Netzach has been brought to a quiet harmonious tone and is receiving the influence of Tiphereth.

8. [Yellow-brown, flecked white] This is a mystery of Mercury, improper to indicate clearly. [A hint may perhaps be found in Liber 415, "Opus Lutetianum." - T.S.][From Liber 415 "Semen itself is Mercury"] Yellowish brown flecked white.

9. [Citrine, flecked azure] Citrine represents the final modification of Yesod, the airy nature at last appearing. The azure flecks are derived from Chesed - perhaps through Netzach; or from Sagittarius, the path joining it with Tiphereth.

10. [Black rayed with yellow] Malkuth has been set upon the throne of Binah; and the rays of the bridgegroom Tiphereth flood her with Gold. Black rayed yellow.

THE ELEMENTS [Empress Scale]

11. [Emerald, flecked gold] Air has been made fertile, so that the golden flecks of the Sun are able to illumine it. Air is naturally barren. The green represents the Lotus on which Harpocrates is seated, or from which he is born.

23. [White, flecked purple, like mother-of-pearl] The perfection of Water is indicated by its iridescence. This is the alchemical symbolism.

31. [Vermilion, flecked crimson and emerald] Fire, being pure, retains its original vermillion; but it has become capable of being the home of the crimson and emerald of Binah and her sphere of joy, Venus. It is no longer a destructive element, but the proper abode of Love, both in its higher and lower forms.

32 bis. [Black, flecked yellow] Earth is identical with Malkuth, save that the rays are now flecks. The symbolism is similar.

31 bis. [White, red, yellow, blue, black (the latter outside)] Spirit manifests the scale of five colours as shown on the Uræus Wand. (The Equinox I (3), p. 211.) * [The reference is to the wand of the Chief Adept in the Adeptus Minor ritual of the R.R. et A.C. It is topped by a winged globe with two UrÊus serpents descending from it, the shaft is coloured white, red, blue, yellow and black for the Elements. - T.S.] Its perfection is to complete itself in the Pentagram. The mystery is similar to that mentioned in connection with 1 above.

THE PLANETS [Empress Scale]

12. Mercury [Indigo, rayed violet]. Mercury's perfection is to still and concentrate thought, until it becomes deep red through which runs the violet vibration of spiritual-erotic ecstasy. (Note that the great defect of Mercury is its coldbloodedness).

13. Luna [Silver, rayed sky blue]. The original chastity of the Moon is tinged with Love.

14. Venus [Bright rose or cerise, rayed pale green]. The defect of Venus is its tendency to romance (rose or cerise) "External Splendour" Nogah. It is perfected by reality and usefulness — the emerald of vegetable life and growth.

21. Jupiter [Bright blue, rayed yellow]. The religious devotion of Jupiter is rewarded by the yellow rays of the Holy Guardian Angel.

27. Mars [Bright red, rayed azure or emerald]. The energy of Mars has been subdued until it is a proper bases for the blue and green rays of vegetable and spiritual life. (Cf. under "31. Fire," above.)

30. Sol [Amber, rayed red]. The perfection of Sol is its fixation in the amber of Cancer by elevation at the summer solstice. In this it receives the adornment of pure physical energy, Fire. The red is purer than the orange, being of the incorruptible element.

32. Saturn [Black, rayed blue]. The perfection of Saturn is its identification with Binah. It has, so to speak, made good its position above the Abyss. It is adorned with the blue rays of the King Scale of Chokmah. The symbol implies that Time, the Destroyer, has been transmuted into the condition of the operation of the Great Work, i.e. the marriage of Chokmah and Binah.

THE ZODIAC [Empress Scale]

15. Aries [Glowing red]. Controlled fire as in a furnace.

16. Taurus [Rich brown]. Rich fertile earth.

17. Gemini [Reddish grey inclined to mauve] is perfected by active thoughts, aimed and tinged by spiritual intention.

18. Cancer [Dark greenish brown]. See Liber 418 (Equinox I, 5) on the Mysteries of Magister Templi. The blood in the Cup of Babalon has dried to brown in which the vegetable, impersonal, and immortal life lurks.

19. Leo [Reddish amber]. Fire is infused evenly in the Lion, thus correcting his tendency to impulse.

20. Virgo [Plum colour]. The perfection of virginity is fruitfulness.

22. Libra [Pale green]. Retains the love of its ruler Venus, but this is purified of its grossness.

22. Scorpio [Livid indigo brown (like a black beetle)]. The vivid watery vibration of putrefaction assumes the hue of the beetle Kephra. The perfection of Scorpio is to bring corruptibility through its midnight.

25. Sagittarius [Dark vivid blue]. The virgin huntress is brought from her superficiality by becoming the huntress Babalon. The deep vivid blue is to be connected with the ideas of water (the Great Sea of Binah) and Chesed, the image of that sea below the Abyss.

26. Capricornus [Cold dark grey, approaching black]. The colour combines Chokmah and Binah, and is very dark. The Great Attainment is symbolized by the marriage.

28. Aquarius [White tinged purple] is the Kerub of the Man; and his perfection is to attain the purity of Kether (white) tinged with the purple or violet vibrations explained above.

29. Pisces [Stone color] is the symbol of the Astral Plane. (See ATU XVIII.) Its defect is glamour and illusion. It has now been brought to a mental equilibrium signifying the adaptability of the ether to receive and transmit all types of vibration.

MINUTUM MUNDUM

A General Note on Columns XV-XVIII, the Four Scales of Colour

You can use the four scales of colour as you choose. The only thing to remember is the attribution, the Tetragrammaton.

The Sephiroth are given in the King's Scale and the paths in the Queen's Scale [The other way round is more usual. - T.S.] in accordance with the general law of balance. You must never have a masculine sticking out by itself without a feminine to equilibrate it.

The Sephiroth are definitely positive ideas. The numbers are "Things in Themselves," much more so that the letters of the alphabet. The paths are merely the links between the Sephiroth.

Of course the idea of balance is carried into the Sephiroth themselves. The number 4 is masculine in its relation with number 5, feminine in its relation with number 3.

You cannot go wrong as long as you keep always this idea of balance in the forefront of your mind. Whenever one thing goes on to another thing, there must always be this opposition, and equilibrium. You can apply this to every point that comes up in practical working. It is always possible to refer any system of symbols to the Tree of Life merely by Tetragrammaton, or indeed to any of the fundamental systems of classification. It is a very useful exercise to practice this type of analysis. Take, for example, the letter Daleth, and note all is correspondences. For instance, you get at once the equation 4 = 7, for the numerical of Daleth is 4, while 7 is of Venus.

The more thoroughly you practice this the nearer you will come to the completely automatic subconscious understanding of the essence of any given symbol.

[brackets indicate notes either of T.S. or myself, S.W. I make note of the 777 color name where Crowley's notes omit the color name or indicate a different name]

 

 

yes, I reference 777 quite a lot actually. Pretty helpful book imo.

[Lala Nila]

48 minutes ago, Nungali said:

 

 

I  just realised where that is from .... 

 

 

New York is where I'd rather stay.

I get allergic smelling hay.

I just adore a penthouse view.

Dah-ling I love you

but give me Park Avenue.

 

 

 

Yea, red is definitely showy. 

 

[Nungali]

[Lala Nila]

 

...found that farm wife to help you with tree felling...