All that I have done as a poet does not fill me with special pride. Excellent poets lived at the same time as me, even better ones lived before me and, of course, will live after me. But that in my age I am the only one who knows the truth about the difficult science of colors - I cannot but attach importance to this, it gives me a sense of superiority over many.
J.V. Goethe.
Goethe did not agree with Newton's color theory and believed that he had to fight against his "delusions". He was looking for the principle of color harmonization not in physical laws, but in the patterns of color vision. In many ways he was right; No wonder he is considered the founder of physiological optics and the science of the psychological effects of color.
Newton proved that White color consists of seven colors of the rainbow - red, orange, yellow, green, blue, indigo, violet. To do this, he conducted a simple experiment. He made a hole in the screen, through which a ray of light penetrated, and passed it through a prism. The light was divided into seven colors.
Goethe decided to repeat Newton's experiment. But I saw something completely different. When the scientist looked through the prism at the illuminated area of the table, the table did not become multi-colored. It remained white, and only the colors of the rainbow were visible around the edges. It turned out that colors appear only on the border or along the edges of something.
Goethe worked on his "Teaching about Color" for 20 years (from 1790 to 1810). The main value of this work lies in the formulation of subtle psychological states associated with the perception of contrasting color combinations. Goethe singled out 2 types of color effects on a person:
- physiological (on human organism),
- psychological (on his spiritual world).
According to R. Steiner, I.V. Goethe was the first to propose a clear system describing the effect of various color impressions on the human psyche.
The scientist's concept was met 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.
Goethe describes in his book the phenomena of color induction - luminance, chromatic, simultaneous and successive - and proves that the colors that appear in successive or simultaneous contrast are not accidental. All these colors seem to be embedded in our organ of vision.
The contrasting color arises as the opposite of the inducing one, i.e. to the imposed eye, just as inhalation alternates with exhalation, and any contraction entails expansion. This manifests the universal law of the integrity of psychological being, the unity of opposites and unity in diversity.
Each pair of contrasting colors already contains the entire color wheel, since their sum - white - can be decomposed into all conceivable colors and, as it were, contains them in potency. From this follows the most important law of the activity of the organ of vision - the law of the necessary change of impressions. “When the eye is offered the dark, it demands the light; he demands the dark when he is presented with the light, and he manifests his vitality, his right to grasp the object by giving birth to something opposite to the object.
Goethe's experiments with colored shadows showed that diametrically opposite (complementary) colors are precisely those that mutually evoke each other in the mind of the viewer. Yellow requires blue-violet, orange requires cyan, and magenta requires green, and vice versa.
Goethe also built a color wheel, but the sequence of colors in it is not a closed spectrum, like Newton's, but a round dance of three pairs of colors. And these pairs are additional, i.e. half-spawned human eye and only half independent of man.
Most harmonious colors- these are those that are located opposite, at the ends of the diameters of the color wheel, it is they who call each other and together form integrity and completeness, similar to the fullness of the color wheel. Harmony, according to Goethe, is not an objective reality, but a product of human consciousness.
Goethe believed that color has an effect on the state of mind of a person. Therefore, he assigned to certain colors certain psychological states of a person.
Goethe divides colors into:
- positive (yellow, orange,), they create a lively and cheerful mood;
- negative (blue, red-blue), they create a restless and dreary mood.
Green Goethe attributed to the "neutral" colors.
Psychological characteristics of colors according to Goethe.
Yellow
It is the color closest to the light. He is always distinguished by clarity, cheerfulness and soft charm. Yellow produces exceptionally warm and pleasant impression. Therefore, in painting, it corresponds to the illuminated and active side of the picture.
However, when it is contaminated, if yellow shifts towards cold tones (the color of sulfur), it acquires a negative sound and negative symbolic meaning.
Red-yellow (orange)
Yellow, thickening and darkening, may intensify to a reddish hue. The energy of the color is growing, and it seems to be more powerful and beautiful in this shade. Red-yellow gives the eye a feeling of warmth and bliss. Therefore, he is pleasant in surroundings and joyful in clothes.
yellow red
The active side reaches its highest energy here, and it is not surprising that energetic, healthy, stern people are especially happy with this color. This color evokes a feeling of shock.
Blue
Blue always carries something dark with it. This color has a strange and almost inexpressible effect on the eye. It combines some kind of contradiction of excitement and rest.
The blue surface seems to be moving away from us. We willingly look at the blue, because it draws us along.
Blue makes us feel cold, just as it reminds us of a shadow.
The rooms, finished in pure blue, seem to a certain extent spacious, but, in essence, empty and cold.
Red-blue (lilac)
Blue, thanks to red, acquires something active, although it is on the passive side. But the nature of the excitement it causes is completely different from that of red-yellow - it does not so much enliven as it causes anxiety.
With this color, you want to find a place where you could relax.
blue red
The impression of anxiety grows. It is very difficult to maintain this color for a long time.
Red
This color gives the impression of seriousness and dignity, as well as benevolence and charm. It produces the first in its dark condensed form, the second in its light diluted form. Dark red symbolizes old age, and light red - youth.
Speaking of purple, Goethe points out that this color is the favorite color of rulers and expresses seriousness and grandeur.
Green
If yellow and blue are mixed in equal proportions, then green is obtained. Our eye finds real satisfaction in green, the eye and soul rest. Therefore, for rooms in which you are constantly located, green wallpapers are usually chosen.
Thus, the significance of the "Teachings about Color" for the psychology of color is very great. Color in Goethe is no longer a symbol of the divine, mystical powers. He gave the perceived color the status of a symbol of the person himself, his feelings and thoughts. And this symbol is not poetic, but psychological, having a certain, specific content.
Irina Bazan
Literature:
J.V. Goethe "On Color".
B.A. Bazyma "Color and Psyche"
In his work The Doctrine of Color, Goethe describes the phenomena of color induction - luminance, chromatic, simultaneous and sequential - and proves that the colors that appear in sequential or simultaneous contrast are not accidental. All these colors seem to be embedded in our organ of vision. The contrasting color arises as the opposite of the inducing one, i.e. to the imposed eye, just as inhalation alternates with exhalation, and every action entails a reaction. Each pair of contrasting colors already contains the entire color wheel, since their sum - white - can be decomposed into all conceivable colors and shades.
Goethe's experiments with colored shadows showed that diametrically opposite colors and are just those that mutually evoke each other in the mind of the viewer. Yellow calls for blue-violet, orange calls for cyan, and magenta calls for green, and vice versa. Goethe believed that color, “regardless of the structure and form of the material, 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 subject associations. According to these provisions, Goethe associates certain colors with certain psychological states of a person.
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".
There is also a division of colors into "characteristic" and "characterless". The former are pairs of colors located in the color wheel through one color, and the latter are pairs of adjacent colors. Harmonic color, according to Goethe, occurs when “when all neighboring colors are brought into balance with each other. »
Goethe's color work also contains some very subtle definitions of color. For example, in painting there is a method of shifting all colors to any one color, as if the picture were viewed through colored glass, for example yellow. Goethe calls such coloring false.
Goethe worked on his "Teaching about Color" from 1790 to 1810, i.e. twenty years, and the main value of this work lies in the formulation of subtle psychological states associated with the perception of contrasting color combinations. 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 theory.
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 (the color of sulfur) or applied to an “ignoble” surface, yellow acquires a negative sound and a negative symbolic meaning. The cold yellow color in the interior speaks of the love of freedom and the breadth of views of its owner. Looks good in the design of living rooms and dining rooms. Very interesting in combination with black and white for the bathroom. A warm shade of yellow is perfect for a child's room. This shade improves mood and has a beneficial effect on the development of a positive outlook.
Orange color. All positive statements about yellow are also suitable 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. Orange color is interesting in the design of the kitchen, it evokes mouth-watering associations. This shade is widely used when creating interiors in oriental or African styles. It is also perfect for a winter chalet, as it has an excellent warming property.
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, according to Goethe, energetic, healthy, severe people especially prefer this paint. This color attracts savages and children. Causes a sense of shock. In interior design, this color is used to create expressive color accents in the room. Yellow-red does not tolerate the presence of others bright colors, so it looks good among pale, pastel colors, and in combination with white.
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. AT German concepts of blue and blue flowers embedded in one word. Blue and blue are the colors of water, sky and air, and look rather banal in the bathroom. However, when combined with light green, they are perfect for a noisy and mobile child. In combination with a cool beige shade, these colors are almost perfect for the bedroom. Gray and light blue interiors with an abundance of glass and light-reflecting materials are widely used in the design of office space, as they have a positive effect on the nervous system of a potential client, allowing him to feel comfortable during important business negotiations.
Red-blue (lilac). This color evokes a feeling of anxiety. The color is lively, but, according to Goethe, joyless. This mysterious shade has long been used in the robes of magicians, as a symbol of knowledge and strength, intelligence and erudition. Decorating your interior with a lilac or purple hue, you have the opportunity to create an atmosphere of seriousness and mystery. This shade is used in the design of bedrooms and bathrooms, as it promotes relaxation and introspection, as well as in the design of living rooms, if there is a desire to emphasize the originality and extravagance of taste preferences.
Goethe considers the pure red color 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. Interiors in red evoke a sense of emotional activity. This color is perfect for living rooms and offices in classic styles, as well as for living rooms, bathrooms and modern kitchens. A bedroom decorated in red indicates not only bad taste, but also leads to serious violations. nervous system. The situation is quite different when trying to recreate oriental styles. In Chinese as well as Arabic interiors, red occupies one of the leading roles; you simply cannot do without its magic.
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 in the day doomsday". That is why in modern interior this color is used only for details, and not for dominant accents.
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". Green color dark shades- this is a serious color of cabinets and classic living rooms, while a light shade, more lively and cheerful, will be appropriate both in the kitchen, or in the bathroom, and in the children's room.
Based on Goethe's teachings on color harmony and wholeness, we can conclude that the psychological impact of, say, yellow, requires the impact of 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. Everyone uses the basic rules of the "color wheel" consciously or subconsciously. professional designer interior, since illiterate possession of the harmony of color in theory makes it impossible to create harmony in practice.
The doctrine of color by J.W. Goethe
It is known that Goethe himself valued his work in color above his own poetic creativity. The great poet 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 of a 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 (the color of sulfur) or applied to an “ignoble” surface, yellow acquires a negative sound and a 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 to a higher 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 the 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. Rooms with a predominance of blue 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 of the relationship between color perception and the activity of the autonomic nervous system (ANS) of a person.
Goethe identifies the following harmonious color combinations: yellow - red-blue; blue - red-yellow; purple - green.
Based on Goethe's teachings on color harmony and wholeness, we can conclude that the psychological impact of, say, yellow, requires the impact of 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 separated in the color wheel by one color.
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”.
Touches on 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.
Goethe's color is no longer a symbol of 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 Rus' 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 Rus' 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
dogma. 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.
Tags: forgiveness formula
" and subsection " " of the article Colors in the interior in the light of Goethe's Teachings on Color. Earlier, we already touched a little on the issue of color combinations in the interior (for example, in the article "Kitchen Design"). Now let's talk about the colors in the interior in more detail.
So, the combination of colors is either a complex science or an art, formed on the verge of painting and psychology. Accordingly, color combinations are usually based on various psychological premises of various psychological schools. While there are many alternative ways to combine colors. One of which we will talk about in the current article.
The colors in the interior in the light of Goethe's "Teachings on Color" are distinguished by a slightly different theoretical base. In his book The Teaching of Color, Goethe describes color induction phenomena(the phenomenon of afterimages) - luminance, chromatic, simultaneous and sequential - and proves that the colors that appear in sequential or simultaneous contrast are not random. All these colors seem to be embedded in our organ of vision.
The contrasting color arises as the opposite of the inducing one, i.e. to the imposed eye, just as inhalation alternates with exhalation, and every action entails a reaction. Each pair of contrasting colors already contains the entire color wheel, since their sum - white - can be decomposed into all conceivable colors and shades.
A little more about color induction(the appearance of afterimages). it small font, so you can not read if you understand what I'm talking about. So, you probably noticed such a phenomenon - if you look for some time (for example, a minute) at some bright object, and then look at a neutral light background (for example, at the ceiling), then there will be a color spot in front of your eyes (on the ceiling) (the same afterimage) of a similar shape and contrasting, opposite color. So, if you looked at the red circle, then there will be a greenish spot in front of your eyes. And, of course, vice versa. This is color induction. More details will be in future articles.
Goethe's experiments with colored shadows showed that diametrically opposed colors are just those that mutually evoke each other in the mind of the viewer. Yellow calls for blue-violet, orange calls for cyan, and magenta calls for green, and vice versa. Goethe believed that color, "regardless of the structure and form of the material, 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. "According to these provisions, Goethe associates certain psychological states of a person with certain colors.
Again, a little more about experiments with colored shadows. The experiment is done very simply - an object is taken that will cast a shadow. It is illuminated by a neutral light source (a candle, a directional lamp - anything to make a clear shadow appear). Specifies the color of the shadow. And then colored glass is placed in front of the light source. For example, red. The color of the shadow is determined (it becomes green). And so on. Differences are better seen in neutral light and when the shadow falls on a light background. I recommend doing experiments, a very interesting effect.
Based on these basic provisions of the psychological section of his teaching, Goethe divides colors into
- "positive" - yellow, red-yellow (orange) and yellow-red (red lead, vermilion) 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".
There is also a division of colors into
- "characteristic" and
- "characterless".
The former are pairs of colors located in the color wheel through one color, and the latter are pairs of adjacent colors.
Harmonic color, according to Goethe, occurs when "when all neighboring colors are brought into balance with each other."
Goethe's teaching on color also contains several very subtle definitions of color. For example, in painting there is a method of shifting all colors to any one color, as if the picture were viewed through colored glass, for example, yellow. Goethe calls such coloring false.
For reference: color is the nature of the color elements of the image, their relationship, consistency of colors and shades. Coloring can be according to the nature of color combinations calm or tense, cold(with the predominance of blue, green, purple tones) or warm(with the predominance of red, yellow, orange), light or dark, and according to the degree of saturation and color strength - bright, restrained, faded, etc.
Goethe worked on his "Teaching about Color" from 1790 to 1810, i.e. twenty years, and the main value of this work lies in the formulation of subtle psychological states associated with the perception of contrasting color combinations. It is known that Goethe himself valued his work in color above his own poetic creativity. The great poet did not agree with Newton's theory of light and color and, in contrast, created his own theory.
According to http://ias.kiev.ua/interior_style/507
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.
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.
