More than 10 years ago, I accidentally met Anastasia Boronina. I consider it a success in my life. Then, at the end of August 1999, she and her like-minded people held a seminar dedicated to the 250th anniversary of the birth of I.V. Goethe. I looked there just out of curiosity. Then whole year she carefully kept a sheet with her phone number, and in her memory - the phrase: “Can't you draw? All the better. Come to class."
A year later, I came. We didn't draw, we worked with color. If it were academic teaching, I would run away from the very first lesson, once again convinced of my mediocrity. But here I was offered to learn and discover the world of color on my own. And I stayed ... for seven whole years.
Currently, Nastya is still teaching classes - during the year in St. Petersburg, and in the summer at the dacha in Vyritsa. And everyone who is sure that he "can't do anything", but at the same time retains curiosity about the world, has the opportunity to take up paint and try to discover it for himself.
Nastya prepared the material below specifically for this page.
Moreover, according to her confession, “it became clear to me that this text alone was not enough. I will write the next one. So to be continued.Lydia Krusheva
German poet and philosopher, a man who high position in society, Johann Wolfgang von Goethe remained a child in his attitude to the world. But not infantile, but investigating. At the heart of his scientific research in mineralogy, botany, anatomy and optics are the eternal questions posed by direct perception. Why is the sky blue? Why is the sun red? How do flowers and fruit come from leaves? Is there a difference in bone formation between ungulates and carnivores? And so on. A child who asks these questions does not often get an answer. And an adult, saying goodbye to childhood, says goodbye to interest in the world. Goethe retained this interest, and not just an interest, but a desire to get to the bottom of the truth. At the same time, the writer proceeded from his artistic instinct and reverence for the secrets of Nature.
His theory of color caused laughter among physicists, but over time it became clear that the appeal to phenomena (which was what Goethe was doing) is timeless and is true as long as the physical world exists. The main phenomenon of Goethe's color theory sounds like this: “When light breaks through darkness, we see warm colors (yellow, orange, red). When light illuminates darkness, we see cool colors (blue, blue, purple).”
What does this mean in practice, how to connect these statements with the observation of Nature? First of all, we see two components - darkness and light. Darkness is passive, while light is active. The interaction between them generates color, which is the third component. This third component is present everywhere in the world around us, while the first two in pure form are the foundations. For Goethe, these are categories, two opposite forces underlying everything - darkness and light, evil and good, cold and heat, death and life, and so on. Speaking of color, he takes absolute transparency and absolute opacity as two principles. Absolute transparency is a vacuum, opacity is solids that do not transmit light. But between these two states there are a lot of intermediate ones: translucent, barely transparent, cloudy, cloudy, and so on. For light, translucency is darkness, it extinguishes it. For darkness - translucency is light, it highlights it.
The first step from absolute transparency to opacity is the atmosphere, air, a subtle substance, which, however, has a chemical composition and is matter. The atmosphere is between us and the sky. Depending on the chemical composition, it can be more cloudy (for example, closer to the ground) or more transparent. Through it we look into space. The firmament of the sky itself is black, this is confirmed by science. Moreover, from Yuri Gagarin's notes, it is known that when approaching the exit from the atmosphere, the color of the sky changed from blue to blue, dark blue and purple, until it became completely black. Therefore, the atmosphere (intermediate, cloudy environment) is between us and the darkness, and due to their interaction, we see cold colors (blue and purple). The greater the amount or cloudiness of the atmosphere, the more light colors we see (cyan, blue). The smaller and more transparent the atmosphere, the more intense colors we perceive (indigo, violet).
Let's look through the atmosphere at the Sun. Depending on its position above the horizon, we observe the Sun in warm colors from light yellow to orange, red and even purple. In this case, the atmosphere darkens the light, as it is between us and the Sun. The closer to the horizon, the cloudier the atmosphere (due to various vapors and chemical reactions directly above the Earth), so quite often we see an orange-red Sun at sunset and sunrise. The higher the Sun rises to the zenith, the more transparent and pure the atmosphere, the light is less clouded, so white and light yellow shades are observed.
We observe the same phenomenon when we look at objects that are in the distance. For example, dark mountains are seen by us as blue, blue or purple, depending on the distance, and, accordingly, the thickness of the atmosphere between us and the observed object.
Thus, Goethe's basic phenomenon is true if we take the atmosphere as an intermediate medium. But Goethe did not stop there. He tested the truth of the phenomenon with all possible substances. That is, it began to compact the intermediate turbid medium. First he took the smoke, which showed the same results. When smoke billows in front of dark trees, we see them as blue or blue, and when the smoke obscures the Sun, we see orange and red. The intensity of the color depends on the intensity of the smoke.
Then Goethe conducted experiments with muddy water (you can take soapy water at home). Through the muddy water, black velvet is seen as blue, and the light of the light bulb is painted in warm colors.
The same is observed when waxing a black surface - the more layers, the greater the transition from black to purple, blue, blue, until we see just wax (when the black stops showing through). In Nature, these are blueberries and plums, which are covered with a thin cloudy film. Through it, the darker color of berries and fruits is seen as blue and blue.
An even denser substance is translucent paper - tracing paper. Through it, you can look at an electric light bulb, gradually adding layers of paper until, to our surprise, the light that breaks through becomes intensely colored up to a dark purple-red.
The densest substance on earth is a mineral. And in Nature there is a mineral that meets our requirements - this is opal. Its main color is milkiness. It is more transparent and less transparent. In the Middle Ages, the ability of this stone to shimmer with all the colors of the rainbow was appreciated. In Venice, there was the production of "opal glass", which had the properties of a mineral - when you look through it at the light - you see warm colors from yellow to red (depending on the degree of cloudiness), and when you look through it at darkness - you see a cold spectrum from violet to blue.
By his experiments, Goethe proved that regardless of the density and composition of the intermediate semi-transparent medium, the main phenomenon of his theory is true for any observer. The only thing the writer and researcher warned about was: “My theory is not for reading, but for practice, it needs to be done.”
The theory of color, on which Goethe worked for 41 years, consists of six parts. In this article, we have only considered small excerpt from the "Physical Colors" part.
Anastasia BORONINA
Teaching about color. Theory of knowledge
War'nicht das Auge sonnenhaft,
Wie konnten wir das Licht erblicken?
Lebt'nicht in uns des Gottes eigne Kraft,
Wie konnt'uns Gottliches entziicken?
Foreword
When you are going to talk about colors, the question naturally arises whether it is necessary to mention light first of all. To this question we will give a short and direct answer: since so many different opinions have been expressed about light so far, it seems superfluous to repeat what has been said or multiply the statements that have been so often repeated.
Actually, after all, all our efforts to express the essence of any thing remain in vain. Actions are what we perceive and full story these actions would embrace - no doubt, the essence of this thing. In vain do we try to describe the character of man; but compare his actions, his deeds, and a picture will arise before you. his character.
Colors are deeds of light, deeds and suffering states. In this sense, we can expect them to clarify the nature of light. Colors and light stand, it is true, in the most exact relationship to each other, however, we must imagine them as inherent in all nature: through nph, nature is completely revealed to the sense of sight.
In the same way, the whole nature is revealed to another sense. Close your eyes, open, sharpen your ears, and from the most gentle breath to a deafening noise, from the simplest sound to greatest harmony, from the most passionate cry to the meekest words of the mind, you will hear nature and only nature, which speaks, which reveals its being, its strength, its life and its relationships, so that the blind, for whom the infinite is closed visible world, can in audible embrace the infinitely living world.
So says nature to the rest of the senses - to the familiar, and the unrecognized and unfamiliar senses; thus she speaks to herself and to us through a thousand manifestations. To the careful observer, she is nowhere dead or mute; and even to the inert earthly body she gave a breastplate, metal, in the smallest parts of which we could see what is happening in the whole mass.
However verbose, confusing, and incomprehensible this language may often seem to us, its elements remain the same. Quietly tilting first one and then the other pan of the scales, nature oscillates here and there, and in this way two sides arise, there arises an up and down, before and after, and all the phenomena that you encounter in space and time are determined by this duality.
These general movements and definitions we perceive most in various ways, sometimes as a simple repulsion and attraction, sometimes as a peeping and again disappearing light, like the movement of air, like a shaking of the body, like oxidation and deoxidation; but they always unite or separate, set things in motion and serve life in one form or another.
Assuming that these two directions are unequal to each other in their action, they tried to somehow express this ratio. Everywhere they noticed and called plus and minus, action and reaction, activity and passivity, advancing and restraining, passionate and moderating, male and female; this is how a language arises, a symbolism that can be used by applying it to similar cases as a likeness, a close expression, a immediately suitable word.
To apply these universal designations, this language of nature also to the doctrine of colors, to enrich and expand this language, relying on the variety of phenomena studied here, and thereby facilitate the exchange of higher views among the friends of nature - that's the main task of the present essay.
The work itself is divided into three parts. The first gives an outline of the doctrine of colors. Innumerable occurrences of phenomena are subsumed in this part under the known basic Phenomena, arranged in an order which the introduction is to justify. Here it can be noted that although we everywhere adhered to experience, everywhere we laid it at the basis, nevertheless we could not pass over in silence the theoretical view, according to which this selection and order of phenomena arose.
And in general, the demand sometimes put forward, although it is not fulfilled even by those who put it, is extremely surprising: to present the evidence of experience without any theoretical connection and leave the reader, the student, to form a conviction for himself to his liking. But when I only look at a thing, it does not move me forward. Every looking turns into looking, every looking into thinking, every thinking into binding, and therefore it can be said that already with every attentive look thrown at the world, we theorize. But to do and apply it consciously, with self-criticism, with freedom, and - to use a bold expression - with a certain irony: such a device is necessary so that the abstraction that we fear is harmless, and the experimental result that we expect is sufficiently alive and useful.
Goethe's ideas about the effect of color on a person and the harmony of colors.
(Johann Wolfgang Goethe, 1749-1832 - a brilliant German poet, humanist and scientist, author of the famous work "Teaching about Color".)
Goethe's "The Doctrine of Color" (1810) belongs to the most interesting, but even in the past aroused much controversy, works. Goethe considers all phenomena associated with color, exclusively from the standpoint of the impact of color on a person. At the same time, he distinguishes between the effect of color on the human body (physiological effect) and the effect on inner world(psychological impact).
The main place in his teaching is the consideration of the "emotional and moral impact of color." Goethe called color "a product of light, a product evocative". He correctly believed that light - color - emotion are links of one chain that are in a causal relationship. He carefully studied the effect of various color impressions on the human psyche and was the first to present them in the form of a clear system.
When considering the subject through the prism of Goethe, he came to a conclusion that became the basis of his theory and system. He noticed colored stripes on the border of areas of light and dark. The splendor of spectral colors was therefore (according to Goethe) exclusively in the opposition of light and darkness. The presence of two opposite poles is an essential characteristic of colors in their most diverse manifestations. Yellow color and the areas bordering on it are related to light. Goethe attributed blue and the colors adjacent to it to the “kingdom of darkness”.
Here Goethe's views echo the ancient Greek theories of the origin of color. He considered yellow and blue to be primary colors, arising from the opposition "light - dark." As the prism moves away from the object under consideration, the yellow strip expands, and its division into yellow and red stripes becomes noticeable. blue stripe splits into blue and purple. Therefore, Goethe considered red to be an enhancement of yellow, and violet to blue. These views were reinforced by observations of nature. In cloudy weather, he noticed how the color of the setting sun changes from yellow to red. Goethe called these two colors sunny, warm, active.
He defined blue and purple as cold, passive colors of the night. Green color, according to him, is obtained by simple mixing additional colors- yellow and blue.
Further amplification of red (yellow-red) and violet supposedly produces magenta.
Goethe also noticed that after a long perception of any one color, an additional color is called up in our eye in the form of a sequential image. Unlike his contemporaries, who saw this as a painful deviation of vision, he explained the consistent image as a natural reaction of the body to the irritation received. The conclusion drawn by Goethe from this phenomenon raises no objections: if there is an additional color in the field of view, then discharge will constantly occur and the eye will rest. Thus, balance and harmony are created. Since this balance was achieved with the help of complementary colors, Goethe calls it harmonious. Goethe arranges colors in a circle according to his hypothesis about the origin of colors.
We also find in him indications of the aesthetic impact of various color combinations arising from the color wheel adopted by him.
He calls the combination of colors opposite in a circle (located opposite each other) harmonious, the combination of alien (distant neighboring flowers) - characteristic and, finally, a combination of related (neighboring) colors - inharmonious.
Goethe's criticism of the regularities discovered by Newton is devoid of any scientific evidence. It is based on the erroneous assumption that mixing spectral colors should give the same results as mixing pigments.
Regularities discovered by a physicist as a result of careful measurements, profound knowledge subject and numerous experiments, were beyond the understanding of Goethe. He explained a lot, based on his philosophical views, and not considering the color through the eyes of a physicist. This explains the fact that some positions of his doctrine of color are in conflict with science. Correct positions concerning the psychological impact of color on a person, coexist in his teachings with incorrect ideas about physical nature colors. Goethe is right when he says that white color is perceived as a whole. However, his claims that White light indecomposable, false.
These errors were the main reason why some well-known researchers of the nature of color (for example, Ostwald) later considered Goethe's teaching on color to be too emotional and rejected him because of "poetic primitive form". But, despite this, Goethe's ideas about the impact of color and the harmony of colors served in the past as starting points for the artist.
Teaching about color. Theory of knowledge
War'nicht das Auge sonnenhaft,
Wie konnten wir das Licht erblicken?
Lebt'nicht in uns des Gottes eigne Kraft,
Wie konnt'uns Gottliches entziicken?
Foreword
When you are going to talk about colors, the question naturally arises whether it is necessary to mention light first of all. To this question we will give a short and direct answer: since so many different opinions have been expressed about light so far, it seems superfluous to repeat what has been said or multiply the statements that have been so often repeated.
Actually, after all, all our efforts to express the essence of any thing remain in vain. Actions are what we perceive, and a complete history of these actions would cover, no doubt, the essence of the thing. In vain do we try to describe the character of man; but compare his actions, his deeds, and a picture will arise before you. his character.
Colors are deeds of light, deeds and suffering states. In this sense, we can expect them to clarify the nature of light. Colors and light stand, it is true, in the most exact relationship to each other, however, we must imagine them as inherent in all nature: through nph, nature is completely revealed to the sense of sight.
In the same way, the whole nature is revealed to another sense. Close your eyes, open, sharpen your ears, and from the most gentle breath to the deafening noise, from the simplest sound to the greatest harmony, from the most passionate cry to the meekest words of reason, you will hear nature and only nature that speaks, that reveals its being, its strength, his life and his relationships, so that the blind, for whom the infinite visible world is closed, can embrace the infinitely living world in what he hears.
So says nature to the rest of the senses - to the familiar, and the unrecognized and unfamiliar senses; thus she speaks to herself and to us through a thousand manifestations. To the careful observer, she is nowhere dead or mute; and even to the inert earthly body she gave a breastplate, metal, in the smallest parts of which we could see what is happening in the whole mass.
However verbose, confusing, and incomprehensible this language may often seem to us, its elements remain the same. Quietly tilting first one and then the other pan of the scales, nature oscillates here and there, and in this way two sides arise, there arises an up and down, before and after, and all the phenomena that you encounter in space and time are determined by this duality.
We perceive these general movements and definitions in the most varied ways, now as a simple repulsion and attraction, now as a peeping and again disappearing light, as a movement of air, as a shaking of the body, as oxidation and deacidification; but they always unite or separate, set things in motion and serve life in one form or another.
Assuming that these two directions are unequal to each other in their action, they tried to somehow express this ratio. Everywhere they noticed and called plus and minus, action and reaction, activity and passivity, advancing and restraining, passionate and moderating, male and female; this is how a language arises, a symbolism that can be used by applying it to similar cases as a likeness, a close expression, a immediately suitable word.
To apply these universal designations, this language of nature also to the doctrine of colors, to enrich and expand this language, relying on the diversity of the phenomena studied here, and thereby facilitate the exchange of higher views among the friends of nature - this is the main task of this work.
The work itself is divided into three parts. The first gives an outline of the doctrine of colors. Innumerable occurrences of phenomena are subsumed in this part under the known basic Phenomena, arranged in an order which the introduction is to justify. Here it can be noted that although we everywhere adhered to experience, everywhere we laid it at the basis, nevertheless we could not pass over in silence the theoretical view, according to which this selection and order of phenomena arose.
And in general, the demand sometimes put forward, although it is not fulfilled even by those who put it, is extremely surprising: to present the evidence of experience without any theoretical connection and leave the reader, the student, to form a conviction for himself to his liking. But when I only look at a thing, it does not move me forward. Every looking turns into looking, every looking into thinking, every thinking into binding, and therefore it can be said that already with every attentive look thrown at the world, we theorize. But to do and apply it consciously, with self-criticism, with freedom, and - to use a bold expression - with a certain irony: such a device is necessary so that the abstraction that we fear is harmless, and the experimental result that we expect is sufficiently alive and useful.
In the second part we are engaged in the exposure of Newton's theory, which imperiously and influentially closed the way to a free view of color phenomena up to now; we contest a hypothesis which, though no longer considered valid, still retains traditional authority among men. In order that the doctrine of colors should not lag behind, as hitherto, from so many better processed parts of natural science, it is necessary to clarify true value this hypothesis, old misconceptions must be eliminated.
Since this second part of our work will seem dry in content, perhaps too harsh and passionate in presentation, then, in order to prepare for this more serious matter and at least somewhat justify this lively attitude towards it, let me give here the following comparison.
Newton's theory of colors can be compared to an old fortress, which was at first founded with youthful haste by the founder, subsequently gradually expanded and furnished by him according to the needs of the time and circumstances, and strengthened to the same extent, in view of hostile collisions.
So did his successors and heirs. We were forced to enlarge the building, to attach it here, to complete it there, to build an outbuilding somewhere else - we were forced, thanks to the growth of internal needs, the pressure of external enemies and many accidents.
All these alien parts and outbuildings had to be connected again with the most amazing galleries, halls and passages. What was damaged by the hand of the enemy or the power of time was immediately restored again. As needed, they made deeper ditches, raised walls and did not skimp on towers, towers and loopholes. Thanks to these careful efforts, a prejudice about high value this fortress, despite the fact that architecture and fortification during this time have greatly improved, and in other cases people have learned to arrange much better dwellings and fortifications. But the old fortress was in honor, especially because it had never yet been possible to take it, that many assaults were repulsed by it, not a few enemies were put to shame, and it always kept a virgin. This name, This glory does not die to this day. No one comes to mind that old building became uninhabited. Everyone is again talking about> her remarkable strength, her excellent device. Pilgrims go there to worship; sketchy drawings of her are shown in all schools and instill in the receptive youth respect for the building, which meanwhile is already empty, guarded by a few invalids who quite seriously imagine themselves fully armed.
Thus, there is no question here of a long siege or a strife with a dubious outcome. In fact, we find this eighth wonder of the world already as an abandoned monument of antiquity, threatening to collapse, and immediately, without any fuss, we begin to demolish it, from the ridge and roof, in order to finally let the sun into this old nest of rats and owls and open the eyes of the astonished traveler all this incoherent architectural labyrinth, its appearance for the sake of temporary needs, all its random heaps, everything deliberately sophisticated, somehow patched in it. But to throw such a glance is possible only if wall after wall falls, vault after vault, and the garbage is removed as soon as possible.
To carry out this work and, if possible, to level the place, to arrange the extracted material so that it can be used again in a new building, this is the difficult task that we have charged ourselves with in this second part. But if we manage, with joyful use of the possible dexterity, to tear down this bastille and acquire a free place, then it is not at all our intention to build up again and burden it immediately with a new building; no, we want to use it to present to the eyes of the viewer a marvelous series of various Figures.
The third part is therefore devoted to historical research and preparatory work. If we said above that the history of man paints us his appearance, then it can also be argued that the history of spiders is science itself. It is impossible to achieve pure knowledge of what one possesses until one is familiar with what others have possessed before us. Those who do not know how to appreciate the advantages of the past, will not be able to truly and sincerely rejoice in the advantages of their time. But writing a history of flowers, or even preparing material for it, was impossible as long as Newton's teachings remained valid. For never before has any aristocratic self-conceit looked at everyone who did not belong to his guild, with such intolerable arrogance with which the Newtonian school rejected everything that was created before it and next to it. With annoyance and indignation, you see how Priestley, in his history of optics, and others before and after him, count the years of the “saved” world of flowers from the era of split (in their imagination) light and shrug their shoulders, looking at ancient and newer writers, calmly kept the right way and left us separate observations and thoughts, which even we could not have been better able to produce and more correctly Formulate.
The doctrine of color by J.W. Goethe
It is known that Goethe himself valued his color work above his own. poetic creativity. great poet He did not agree with Newton's theory of light and color and, in contrast, created his own. Goethe's interest in color has been noted since childhood. As W. Voigt and W. Zukker (1983) note, Goethe's sensually visual method was the reason why Goethe's concept was received "with hostility" by his contemporaries. Goethe was accused of dilettantism and advised to do his own thing. Goethe complains about the cold attitude of his contemporaries to his theory in one of his letters to Schiller. We are primarily interested in that part of Goethe's teaching, which he calls the "Sensual-moral action of flowers."
Goethe believed that color "regardless of the structure and form of the material (to which it belongs - author's note) has a certain effect ... on the mood of the soul." Thus, the impression caused by color is determined, first of all, by itself, and not by its objective associations. “Individual colorful impressions ... must act specifically and ... cause specific states.” And further, "certain colors evoke special states of mind." According to these provisions, Goethe associates certain colors with certain psychological states person. Goethe illustrates a similar property of color by describing those changes in “ state of mind”, which occur with a sufficiently long exposure to color on a person, for example, through colored glasses.
Based on these basic provisions of the psychological section of his teaching, Goethe divides the colors into "positive" - yellow, red-yellow (orange) and yellow-red (red lead, cinnabar) and "negative" - blue, red-blue and blue-red. The colors of the first group create a cheerful, lively, active mood, and the second - restless, soft and dreary. Green Goethe referred to the "neutral". Let's take a closer look at psychological characteristics flowers given by Goethe.
Yellow. If you look through the yellow glass, then "the eye will be delighted, the heart will expand, the soul will become more cheerful, it seems that ... it breathes with warmth." Pure yellow is pleasant. However, when it is contaminated, shifted towards cold tones (sulfur color) or applied to an “ignoble” surface, yellow acquires a negative sound and negative symbolic meaning. According to Goethe, such yellow symbolizes debtors, cuckolds and belonging to the Jewish nation.
Orange. What is said (positively) about yellow is also true for orange, but in a more high degree. Orange is "more energetic" than pure yellow. Maybe that's why this color, according to Goethe, is more preferred by the French than by the British and Germans.
Yellow-red. The pleasant and cheerful feeling evoked by orange rises to unbearably powerful in bright yellow-red. The active side in this color reaches its highest energy. As a result of this, according to Goethe, energetic, healthy, stern people especially "rejoice" (prefer) this paint. This color attracts savages and children. Causes a sense of shock.
Blue. “Like a color, this is energy: however, it stands on negative side and in its greatest purity is, as it were, an exciting nothing. Goethe subtly feels the "mysticism" of blue and writes about it as creating a strange, inexpressible effect. Blue, as it were, entails, “leaves” a person. Blue as the idea of dark is associated with the feeling of cold. Dominant rooms of blue color seem spacious, but empty and cold. If you look at the world through blue glass, it appears in a sad form.
Red-blue (lilac). This color evokes a feeling of anxiety. The color is lively, but bleak.
Blue-red. The impression of anxiety is greatly increased. Goethe believed that to withstand this color long time very difficult if it is not diluted.
Pure red Goethe considers as a harmonious combination of the poles of yellow and blue, and therefore the eye finds "ideal satisfaction" in this color. Red (carmine) gives the impression of seriousness, dignity or charm and goodwill. Darker symbolizes old age, and lighter symbolizes youth.
Speaking of purple, Goethe indicates that it is the favorite color of rulers and expresses seriousness and grandeur. But if you look at the surrounding landscape through the purple glass, then it appears in a terrifying form, as on the day of the "Last Judgment".
Green. If yellow and blue are in an equilibrium mixture, green is produced. The eye, according to Goethe, finds real satisfaction in it, the soul "rests". I don't want to and I can't go any further.
The impact of individual colors, causing certain impressions and states in a person, thereby, in Goethe's terminology, "limits" the soul, which strives for wholeness. Here Goethe draws a parallel between color harmony and the harmony of the psyche. As soon as the eye sees any color, it comes into an active state. Its nature is to give rise to another color, which together with the given contains the wholeness of the color wheel.
So the human soul strives for wholeness and universality. These provisions of Goethe, in many respects anticipate the results of experimental studies by S.V. Kravkova links between color perception and vegetative activity nervous system(VNS) of a person.
Goethe identifies the following harmonious color combinations: yellow - red-blue; blue - red-yellow; purple - green.
Based on Goethe's teachings about color harmony and wholeness, we can conclude that the psychological impact of, say, yellow color, requires exposure to red-blue (violet) to balance it. There are complementary relationships between the harmonic color pair. These six colors make up Goethe's "color wheel", where harmonious combinations are located opposite each other diagonally.
In addition to harmonious color combinations (leading to integrity), Goethe distinguishes "characteristic" and "uncharacteristic". These color combinations also cause certain spiritual impressions, but unlike harmonious ones, they do not lead to a state of psychological balance.
"Characteristic" Goethe calls such color combinations that make up colors divided into color wheel with one paint.
Yellow and blue. According to Goethe - a meager, pale combination, which lacks (for integrity) red. The impression it creates is what Goethe calls "ordinary".
The combination of yellow and purple is also one-sided, but fun and gorgeous.
Yellow-red in combination with blue-red causes excitement, the impression is bright.
Mixing the colors of a characteristic pair generates a color that is (on the color wheel) between them.
"Uncharacteristic" Goethe calls combinations of two adjacent colors of his circle. Their proximity leads to an unfavorable impression. So Goethe calls yellow with green "wonderful cheerful", and blue with green - "would-nasty".
Goethe assigns an important role in the formation of the psychological impact of color on a person to the lightness characteristics of colors. The "active" side (positive colors) when combined with black wins in terms of impression strength, and the "passive" side (negative colors) loses. And, on the contrary, when combined with white, the passive side wins more, becoming more “cheerful” and “cheerful”.
Affects Goethe and intercultural differences in color symbolism and the psychological impact of color.
He considers love for the bright and colorful to be characteristic of savages, "uncivilized" peoples and children. At educated people, on the contrary, there is a certain "disgust" for colors, especially bright ones.
Goethe associates the color of clothing both with the character of the nation as a whole and individual person. Lively, lively nations, Goethe believes, prefer the intensified colors of the active side.
Moderates are straw and red-yellow, with which they wear dark blue.
Nations seeking to show their dignity - red with a bias towards the passive side.
Young women prefer light shades - pink and blue.
Old men - lilac and dark green.
The value of "Teachings about color" for the psychology of color is very great. What was blamed on Goethe - artistic method, subjectivism, allowed the great German poet to consider the subtle relationships between color and the human psyche. The metaphor of the "light-bearing soul of man" received convincing confirmation in Goethe's work.
Color in Goethe is no longer a symbol of the divine, mystical powers. It is a symbol of the person himself, his feelings and thoughts, and, moreover, the symbol is not poetic, but psychological, having a certain, specific content.
INTERNET ACTION: Day of the Baptism of Russia 2012!!!
The new anniversary of this unfortunate event, which is recently celebrated in Russia at the state level, is getting closer. On this day, we urge you to join our online action, to express your rejection of the wave of clericalization of society that has covered it today.
On July 28, we call on all those who are not indifferent to put mourning avatars on themselves, post messages in Christian groups, we encourage you to tell about this action as much as possible more people, on this day we will shake up the Internet together, and let the clergy know that society does not belong to them, that there are still many of their opponents who can declare themselves.
Remember - the more we are, the more effective our actions. Invite like-minded people! Let's mourn the entire network!
Glory and Everlasting memory To our ancestors, who gave their lives for the Freedom and Independence of Russia in the struggle against violent bloody Christianization.
Crime and genocide - has no statute of limitations! We remember and mourn.
***
"You took off your cross once
And turned away from Christ
Not everyone will understand you
You did it for a reason.
You understand the price of this faith
And he refused it.
Have you seen the lies and hypocrisy
And I realized: this is not yours.
Their servility, fear, captivity
They became disgusting for you.
You got up from your knees, and the voice of blood
I chose sacred for myself.
The Slavic spirit woke up in you,
The native land called.
You turned your face to the light
And I realized that the time has come.
Not a cross, but Kolovrat on the neck,
The circle of the sun means he.
Like an ancestor from Hyperborea,
Be steadfast, be proud, be brave, be strong.
Your gaze is piercing and clear
It contains the Ancestral Spirit and Power of the Gods
You are free and the world is beautiful
You could know his love.
Yarila you are marked with light,
We keep Perun by will,
But he was noticed by the enemies -
From now on, you will be driven.
But never break you
Strengthened will, like steel,
You became a free man
And you don't feel sorry for the past.
You are a Rodnover, Russian Nature,
Chose the path of life
You are not afraid to stand on the parapet,
And the gods will protect you!"
(With)
Source: Mood:Calm
SECRETS OF NUMEROLOGY.
I just want to emphasize:
notice you are late.
Well
ancient
That's why,
digit. Number of corners
perceive what is happening.
SECRETS OF NUMEROLOGY.
AT recent times we talk a lot about the role of numbers and digital codes in Everyday life and the fate of man.
I just want to emphasize:
there is no point in explaining the magical principles of how digital combinations work -
that's why they are magical, that is, magical and secret. I want today
refer to those magical meanings numbers that will help you
daily in normal real life. These are the simplest keys - they are not needed
calculate - they were found back in "distant far", and now you will learn about
them and learn how to use them.
So, let's start with the simplest. If you are late for somewhere, you need to repeat the number "twenty" to yourself on the way.
2 will multiply your efforts, and 0 will negate your counter efforts. For
you in a crowd or a traffic jam there will be a free corridor, and the one
with whom you meet, and he himself will start to be late or simply not
notice you are late.
If you need to destroy something, you must imagine this something and say to yourself: "Forty-four."
Not only do these numbers look like two lightning bolts (no wonder
they were so popular with the conquerors). But the overlap of one square
(4) into another square (4) breaks up any stability into parts, because
angles becomes eight, and 8 is the number of infinity. Here it comes out
crushing to infinity - into dust.
If, on the contrary, you need to multiply, restore something, imagine this something and repeat: “Forty forty”. Remember how an unprecedented number of churches were magnified in old Moscow - just so magically: forty magpies.
If you lack happiness, luck, ease, repeat the number "twenty-one". The word "happiness" in its numerical value is 21.
If you need to add something (even the number of loops in knitting, even the number of bills in your wallet), imagine it and repeat: "Seven plus one." 7 is the number of mysterious action, 1 is the number of purpose and energy, and 8 (7 + 1) is the number of infinity.
If you need to reduce something (at least, for example, your own weight), imagine yourself as a slender birch and repeat: "Ten minus one." By the way, be prepared for changes: 10 - 1 = 9 (the number of changes).
Well
and now after short lesson magic numbers, try to imagine
imagine what those numbers look like. You know this, of course. But do you know
why are our numbers written this way? Let's see what they mean
appearance. It is traditionally believed that writing is the external form of our
numbers - Arabic. They are called so, in contrast to Roman numbers, -
Arabic numbers. But it is clear that the ancient writings absorbed
many different traits. Being used different nations writing numbers
changed. If we compare them, these same Arabic numerals, for example, with
Old Norse runes, we will see many identities.
For example, the rune "lagu" is depicted as 1, only its upper tip is not
from the left, and right side. And the rune “lag” meant almost the same as
means 1: realize your potential, define your movement.
ancient
practitioners tell us why our numbers look like this and not
otherwise. It turns out that they reflected the development, those turning points that
a person overcomes in time and space of his life. The more
the number increases, the more corners it has - obstacles that
must be overcome on the path of life in order to reach one's own goal.
Compare: - one corner - six corners - two corners - seven corners - three corners - eight corners - four corners - nine corners - five corners - no corners
That's why,
if you look at YOUR birth date numbers, or combinations of your
personal codes, note how many corners are in each of your
digit. Number of corners
will talk not only about how many obstacles will meet on your
way, but also (and this is the main thing!) about how nervous you yourself will be
perceive what is happening.
FORMULA OF FORGIVENESS
Forgiveness
- the only liberating force in the universe. Forgiveness is true
cause frees a person from disease, life difficulties and others
bad.
How to forgive? Is it harder than you thought? Nothing, let's learn!
1. If someone did something bad to me, then I forgive him for doing it, and I forgive myself for taking this bad thing into myself.
2. If I myself did something bad to someone, then I ask him for forgiveness for what I did, and I forgive myself for what I did.
3.
Since I caused my body suffering by doing bad to another, either
allowing me to do bad things to myself, then in any case I always ask forgiveness from my body for having thereby harmed it.
All this can be sentenced or pronounced mentally. The main thing is to come from the heart. This is the simplest forgiveness.
Such forgiveness
people usually understand without difficulty, although asking for forgiveness from oneself for
some is an insurmountable problem. I belong to myself equally
the same degree as I belong to the Divine All-Unity. Like any
another. Thus my body is both me and him. I do not have
the right to destroy it. Although my body is mine, I am not its owner.
try
free your spirit from materialistic thinking. For this
ask forgiveness from your thinking for what it collects
dogmas. Sometimes it is very difficult to forgive another, sometimes even
impossible, because he caused a lot of pain.
Although the teaching of Christ about salvation is not new, but its deep understanding is new and therefore requires additional clarification.
Principles of Forgiveness
Everything that makes me feel bad is connected to me through an invisible
energy connection. If I want to get rid of the bad, then I myself
must release both ends of the connection. This is done with forgiveness.
Man attracts to himself what he already has.
If there is good, someone must come to do good. If there is bad, someone must come to do bad.
Whoever comes will teach me a life lesson. He's like a performer
work on order. I want and he will come. All the negativity that is in
person and which he managed to free in a smart way - with the help of forgiveness,
is an unlearned life lesson. Therefore, it will have to
learn through suffering. For this, someone must come and cause
suffering.
Forgiveness comes with awareness. Awareness is wisdom.
A person remains stupid as long as he sees the cause of the bad in another person.
Forgiveness Formula
1. I forgive a bad thought for having entered me.
2.
I apologize to the bad thought for not realizing that it came
teach me the mind, and for the fact that I did not think to release her. I concluded
captured and nurtured her in himself.
3. I apologize to my body for the fact that by cultivating a bad thought, I caused him bad things.
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