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Colours & Astrology

Colours & Astrology

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Published by Anahiti Atena
Colours & Astrology
Colours & Astrology

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Published by: Anahiti Atena on Dec 06, 2013
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Everybody loves a list, and astrologers are no exception. Even Jeff Mayo could not resist ending his book The Planets and Human ehaviour !ith nineteen pages of traditional associations, including planetary colours. "or, of course, could he resist distancing himself from such apparent frivolities#$The follo!ing list of colours associated !ith the %un, Moon and planets has not been compiled for the purpose of satisfying the curiosity of any reader !hose interest in astrology is still on the fortune&telling level, but as a straightfor!ard presentation of evidence as to ho! confused and nonsensical many astrologers past and present can be in their applications of astrology. $'t first glance, this scepticism may seem (ustified. )enus, for example, has been associated !ith the colours blue, green, yello!, and !hite* Taurus, !ith all of these, plus orange and bro!n. %ome attributions may indeed be nonsense, and others may have arisen from a confusion of the colours of the planets !ith those of their signs, but behind the apparent confusion and nonsense + believe !e can find pattern and reason.The first point to grasp is the distinction bet!een colours as transmitters of astrological influences, and astrological factors as significators of colours. These sound the same, but they are not. +n the first case, !e have colour used for its effect on man. Thus the colour therapist, interior designer, and magician all use red to produce a sense energy and !armth# to produce a Martian effect. +n the second case, Mars as a significator, usually in a horary chart, is interpreted as referring to an ob(ect or person characterised by the colour red. +n these t!o examples the euation of red and Mars !orks both !ays, but that is not al!ays the case.The "ature of -olour %chool textbooks inform us that colour is produced by the !avelength of light# the light at the blue end of the spectrum has a shorter !avelength than that at the red end. This is actually a half&truth, since the eye cannot assign incoming light to a !avelength. +nstead it has three types of receptors !ith their maximum sensitivity at the ends and middle of the range of visible light# blue, green, and red. 's oethe claimed, in opposition to the
teachings of "e!ton, colour perception is a matter for the mind, not the eye. This !as  proved by Ed!in /and 0inventor of the Polaroid camera1 !ho sho!ed that !e could see a full range of colours !hen presented !ith a picture of a landscape pro(ected !ith red and yello! lights alone. +n that experiment, all the receptors are stimulated to some extent, even though no blue light is actually received* the vie!er therefore interprets the picture as fully polychrome on the basis of !hat it depicts.This initial analysis into blue, green, and red means that other colours can be produced by mixing these three primaries. 2igure 3 sho!s the mixing of light. 2rom any t!o of the  primaries !e obtain a secondary & yello!, magenta 0crimson1, or cyan 0turuoise1* from all three !e get !hite light. 2igure 4 sho!s the mixing of opaue pigments. 5ed paint is red because it absorbs most green and blue light and so reflects mostly red* blue paint is  blue because it absorbs most red and green. +f the t!o are mixed, the result !ill absorb almost all green and the reflected light !ill be a mixture of red and blue# purple. +n other !ords, mixing lights is additive & all the components are seen & but mixing pigments is subtractive & it lessens the amount of light reflected. 2or transparent pigments, such as  printers6 ink, the primaries are the same as the secondaries for light, and vice versa.The complement of a colour is its opposite in the diagram. That of a primary colour !ill  be a mixture of the t!o other primaries# the additive complement of red is cyan, the subtractive complement is green. The complement of a secondary !ill be the primary not involved in its composition. Mixing complementary lights !ill produce !hite, as all three  primaries !ill be present. ' mixture of complementary pigments !ill produce something approaching black# either of the neutral colours, grey or bro!n. +f you stare at a bright colour for a time and then look at a !hite surface, you !ill see an after&image, !hich !ill  be the subtractive complement.-olour and Man-olours, unlike other symbols, speak directly to our perception and so tend to have similar associations in different cultures. Thus the association of red !ith both vitality and danger may be found in ancient Egypt as !ell as in the modern !orld. %imilarly, although devotees of political correctness have deplored the expression $black magic$ as racist, the association of evil magic and the colour black is as common in 'frica as in Europe# the symbolism refers to the dangers and mysteries of the night.
The basic contrast is bet!een !arm and cool colours. The !arm are yello!, red, magenta, and bro!n* the cool are violet, blue, green, and grey. 7arm colours are stimulating, cool ones calming. The effect is not purely psychological# red light increases  blood pressure and blue decreases it, even if the sub(ect is blindfold.'pplications of -olour The simplest application of the effects of colour is in designing interiors !hose schemes of decoration !ill be appropriate to the activity to be carried out in them. This has al!ays  been done to some extent, but the systematic study of colour effects in this context !as  pioneered by 5udolf %teiner for the design of his schools.'nother use is in colour therapy# the patient is exposed to coloured lights, or even (ust asked to visualise a colour. %election of the appropriate colour is usually based on the  patient6s colour preferences or psychometry, but astrological diagnosis is an obvious  possibility. Treatment of physical problems, particularly chronic ones, is possible as !ell as psychological therapy.-olour therapy resembles the practice of the 5enascence philosopher Marsilio 2icino, !ho countered adverse astrological influences by attracting favourable ones !ith sights, sounds, smells, and tastes appropriate to them. This is, of course, an example of magic, a field in !hich colour has al!ays been important. +t has been said that magic is to metaphysics as engineering is to physics. "o! metaphysics is concerned !ith ideas, and it is ideas and symbols !hich constitute the tools !ith !hich magicians produce their effects. 2or example, !hen a magician handles a knife in a ritual associated !ith the element air, this is to concentrate the mind on the true operation !hich is being carried out on an inner plane* this is achieved because the knife itself, the yello! !hich its hilt has been coloured, and the sigils and names dra!n upon it, all symbolise air. %imilarly, in  path& !orking & the clairvoyant exploration of the inner !orld along the paths of the Tree of /ife & the colours seen, along !ith other symbols, !ill confirm by their appropriateness that the explorer is on the right track.lack is formal, conventional, and dignified. +n ancient Egypt, it symbolised night, death, and magic* it !as the opposite of green, the colour of life.7hite is precise, critical, and sincere. +n Egypt, it symbolised purity, femininity, and the Moon, contrasting !ith the masculine red.5ed is active, daring, passionate, and optimistic. +t enhances alertness and encourages activity. oethe held red to be the most intense colour, the furthest from both black and !hite, and it is note!orthy that those languages !hich only have !ords for three basic colours al!ays select black, !hite, and red. +n Egypt, red symbolised masculinity, life, and !armth, but also danger. +t !as the opposite of the feminine !hite# this can be seen in Egyptian art, !here the !omen are !hite and the men bro!n 0!hich !as considered a

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