Primary Color

Red is called a primary color, along with yellow and blue when working with pigments (red, green, and blue when working with lights). A greater truth is that red is the primary color. Before the emergence/manifestation of red there was the non-color black (absence of light), followed by the all-color white (light) from which red was the color to first emerge in the dawning of particle-based Omniverse from out of nothingness. Although black and white are most primary, they are not ordinarily considered colors, a term reserved for the vibrational spectrum beginning with red. Red is the color of fire, blood, initiation, generation, regeneration, production, aggression, vigor, purification—the color of primal masculine energy (in women as well as men), the color correspondent with the Pythagorean Monad, with the first principle of Omniverse, the first force, the first dimension of the Omniversal construct, and the first dimension of Mind that leads the way in weaving the numerous phenomena on the loom of multidimensional Nature.

In terms of frequency of use, the dominant coloration of our distant ancestors’ cave paintings reflects not only the ready availability of black, white, and red minerals but a deep intuitive metaphysical connection to the most foundational principles of Nature. To a lesser degree they used yellow (associated with light), the second masculine color in the spectrum, as well as shaded blends. Some scientists theorize that their color palette was limited because the artists relied on pigments available locally, yet other scientists have done chemical analyses showing that some artists traveled great distances to obtain raw materials for their pigments—even the black, which one would tend to assume to have been derived entirely from the handy charcoal remains of fires. In our meta-analysis, the evidence tells us that intuition, vision, and intention ruled over ease of availability, and that the use of black, white, red reveals the primitive artists’ sense of deep connection to both the nonphysical and the physical aspects of Reality.

The development of human perception follows along the line of the color spectrum, beginning with red, and matches with the overall neurological development of the human being in accordance with openings-up along the corridor of flower-like (chakra) energy centers positioned in alignment with the more densely physical spinal cord and brain. Regardless of the level of neurological and spiritual development, people, even babies, are strongly drawn to black and white images and to red-colored objects. This makes black, white, and red an excellent combination for mass-marketing anything, tangible or intangible. Black, white, and red, used together, embed easily and deeply into the unconscious aspect of mind because it associates them with identity, survival, and procreation. Powerful constructive use of this combination can be made in the interior design of homes and certain corporate facilities as well as in fashion design and in selecting individual items of clothing to be worn together.

According to Freemasonry, with its preserved grasp of esoteric matters (including color symbolism) reaching back through time to ancient Egypt and into the mists of even greater antiquity, “The three fundamental colors found in all civilizations, down to the Middle Ages in Europe, are white, red and black.” So, not surprisingly, these three “colors” are also considered to be the principal colors of Freemasonry, where the white is associated with the Craft Degrees, red with the Royal Arch Degree, and black with the Knights of Malta. This secret society’s continuing use of black, white, and red obviously connotes no reliance on the availability of pigments; it reflects a continuity of powerful meaning as sensed by some persons only intuitively but by others in terms of specific occult knowledge, wisdom, and purpose.

Some concepts corresponding with red are mentioned above, in the first paragraph. Some concepts corresponding with white include: spirit, purity, cleanliness, goodness, honesty, life, light, optimism, connection, inclusion, one-ness, and happiness. Some concepts corresponding with black are: death, darkness, grief, anguish, submission, pessimism, destruction, evil, separation, disconnection, condemnation, isolation, removal, fear, pollution, and pain. Consider the radically different connotation of the color red when used exclusively with white versus its exclusive use with black. If the logo for the American Red Cross were a red cross on a black background, their fund-raising efforts would surely fail. Color alone is incredibly powerful, evocative of strong emotion, and even more so when carefully mixed with other elements of design in something like a corporate logo—or a cartoon character.

Walt Disney was a 33rd Degree Freemason. The person of Mickey Mouse, mascot of The Walt Disney Company was originally created as a black and white character having a red tongue. Although yellow shoes have sometimes been added, Mickey has almost always worn red clothing: shorts, overalls, a coat, or a shirt. Black, white, and red have been dominant with this character throughout his cartoon career, and throughout most of Disney’s (see Image File #61). Disney films often echo occult archetypal themes that are subconsciously attractive and serve as subtle teachings. The films also often include subliminal sexual designs, some of which might be attributed solely to mischievous artists, although that seems unlikely. Although religious critics see Disney’s intentions as having been “satanic,” we see his chief purpose as having been the manipulation of audience psyches to generate profits through the application of his knowledge of the human mind and of larger natural metaphysical forces and structure, including the power and meaning of primal colors. Entertainment that employs multisensory media is the perfect vehicle for education related to any agenda.

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2 Responses to “Primary Color”

  1. PluribusOne™ Says:

    For an excellent example of effective use of red, white, and black in a non-Disney film, see The Specialist (1994), with Sharon Stone, Sylvester Stallone, and James Woods. It was purely synchronistic that I stumbled on it on Netflix right after posting this article.

    Despite the story’s flaws and a poor (4%) critical rating, it was a box office hit and one of Stallone’s highest grossing movies. Non-professional/consumer movie-goers were dazzled by what they saw on the screen and the highly skillful use of red, white, and black played no small part in that.

  2. PluribusOne™ Says:

    Another unexpected synchronicity delivered another example:

    In the original story of Snow White, revised and produced as a Disney movie in the last century, the queen says: “I wish I had a little girl, white as snow, red as blood, and black as ebony.” She subsequently gives birth to a little girl having ebony black hair, snow-white skin, and blood-red lips.

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