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(Mother, 1958:) “It is an error to confuse Joy and Felicity. They are two very different things. Not only are their vibrations different, but their colors are different. The color of Felicity is blue, a clear silvery blue (the blue of the Ashram flag), very luminous and transparent. And it has a passive and fresh quality that refreshes and rejuvenates.
         Whereas Joy is a golden rose color, a pale gold with a tinge of red, a very pale red. It is active, warm, fortifying, intensifying. The first is sweetness, the second is tenderness.
         And Bliss – what I spontaneously call Bliss – is the synthesis of both. It is found in the very heights of the supramental consciousness, in a diamond light, an uncolored, sparkling light containing all the colors. Joy and Felicity form two sides of a triangle that has Bliss at its apex.
         Bliss contains coolness and warmth, passivity and activity, repose and action, sweetness and tenderness, all at the same time. Divine tenderness ... is something very different from sweetness – it is a paroxysm of joy, a vibration so strong that the body feels it will burst, so it is forced to widen.
         The diamond light of Bliss has the power to melt all hostile forces. Nothing can resist it. No consciousness, no being, no hostile will can draw near it without immediately being dissolved, for it is the Divine light in its pure creative power.”[1]

(Mother to students, 1954:) “The education in colours is tremendous — in both detail and complexity. If you learn how to distinguish all the colours, to know to what family of colours each belongs, what kind of harmony it can bring about — you can know, it is the same thing. You can keep the memory of the colour as you keep the memory of the form. You want to match all your things... for example, you want to match two things: you want to match a cloak with a skirt or a... well, anything at all... or maybe one kind of cloth with another. Usually you are obliged to take one and then go and compare it with the others; and finally, after many trials, if you are not too clumsy, you finish by finding it. But if you have the training in colour, you look at the colour once and go straight to what matches with it, without any hesitation, because you remember exactly the nature of this colour and go to a colour that can harmonise with it.
         But you see, in order to educate yourself you can make lots and lots of... almost games, can’t you? You have a whole series of things, take anything you like: bits of cloth, anything at all, bits of ribbons, little bits of paper, many different colours. And then you arrange them to make a scale, and you see in what order they have to be put. By the side of this one, which should go? By the side of this other, which should go? And so on. And you make an uninterrupted scale in such a way that nothing shouts and you can go from one extreme of colour to the other.
         There are countless opportunities for doing things like that. One doesn’t use them. But if you look at the problem from the point of view of education, you have constantly an opportunity for educating yourself, constantly. It seems people make terrible mistakes in taste; if you knew, from the point of view of artistic harmony, you simply live in a chaos! Take just the relations of colours — there are many other things, there is the relation of forms which is more complicated still — but the relation of colours: you take a colour and put it beside another; and it happens that these groups of colours don’t go together. Then, if you have no training, sometimes you are not even aware of it. Sometimes you say, “Oh, it is not very pretty.” But you don’t know why, you are not at all conscious of the reason. But when you are trained, when you have trained your eye, first of all you never make a mistake like this, you never bring together two things which don’t go together; and if by chance, on someone else you see things which are not at all made to go together, you don’t have that vague kind of feeling which says, “Oh, it is not pretty, oh, it is not good”, a kind of vague thing... you don’t know why it isn’t pretty, it isn’t pleasant. And it is precisely because one colour belongs to one class and the other to another class of colours, and if you bring together these two different classes without some intermediary colours to harmonise them, they shriek. You can immediately find the remedy because you know where the fault lies.”[2]

See also