BLACK & WHITE, SYMBOLS, CONNOTATIONS & SIGNIFICANCE

My curiosity is toward life, people, culture, stories, concepts, symbolism, and iconography. As of now, for most of my paintings, we can observe that they are made using what I call the Silver Screen painting style. The Silver Screen is what some would call Black and white. However, I do not make my paintings to be viewed that way. I want people to see beyond the two basic components of the paintings and look at the greater picture. Through the lenses of Silver Screen painting, there is a great mosaic of colors flavors stories, and meaning and depth. For most paintings, what is exhibited, is what exists between those two basic components: the nuances, the textures, the shades of grey.

I find it compelling how the two colors draw so much controversy because of our social constructs, and the way we have been programmed to perceive the colors. And how the perceptions are crystalized in a way that we cannot detach from them. This is not a new conversation, the words, the connotations, and how they affect our psyche, our conscious and subconscious. It is in all we illustrate or communicate in any shape or form. The two colors are subject, in a figurative and literal way, to the complimentary or pejorative connotations. And there are a multitude of avenues to explore.

The experience that we carry within that color paradigm is tangible. It comes to my mind how profound the effect of colors is on the very fabric of our being. Therefore, we must be mindful of the spiritual, psychological, biological, sociological, linguistic, and scientific aspects of colors. For the matter of this topic, I Am speaking of Black and White, in trying to grasp how it translates as Art.

SPIRITUALITY ICONOGRAPHY

Concerning ancient Egypt, Richard H. Wilkinson points out the dual usage of colors. In one aspect, an icon (or object) can be portrayed just as it is in our natural realm. In another aspect, the same icon can be portrayed through its symbolic color which can be viewed as part of its nature, or how it is defined. A color can be tied to an object as a form of code to identify it. In different circumstances, color is simply there for decorative purposes and to create contrast. [P.110-111]

Speaking of Black and White, they are said to be used as symbolic opposites such as life and death. However, there are nuances to how the colors are symbolically defined. However, each one can have specific components and serve specific purposes. For example, of the many qualities that are attributed to mala beads, The Black beads absorb the energy of the room while the White beads dispel it. Where Black and White are mostly perceived as contrasting and dual, in a holistic approach, the joining of both can also signify completeness or a full circle such as the Yin and Yang. There is no such thing as a total Yin or a pure Yang. One cannot come without the other. Neither the Yin nor the Yang are good or bad, what really matters is the harmony between the two extremes.

Tai Chi Symbol

Maxence Layet speaks of the synergy of the opposites in his book “L’Énergie Secrète De L’Univers”. To articulate the principle of Yin and Yang, he asks the reader to imagine a mountain that is between sky and ground, illuminated by the sun. No matter the time of the day, there is a part of the mountain that is in the shade and the other part in the light. In Chinese, Yin and Yang is literally described as the shaded slope [Yin] and sunny slope [Yang] or in other words the shady side of the hill and the sunny side of the hill.

More in a nuanced way, the principle of Yin and Yang are said to be opposites that factually are two (2) essential variations of one (1) and the same energy. Two (2) sources of force in contrast to one another and complementary at the same time; tied together and inseparable. It is what exists between the two that governs the cosmos. It all translates as the Cycle of day/night, the negative and positive poles, inspiration and expiration, the calm after the storm, male and female, etc. The Yin nor the Yang are good or bad, what really matters is the harmony between the two extremes.

YIN	YANG
Contraction	Expansion
Shadow	Light
Earth	Sky
Immobilism	Movement
Feminine	Masculine
Passivity	Activity
Flexibility	Stiffness
Spirit	Body
Unconscious	Conscious
Heavy	Light
Low	High
Cold	Hot
Calm	Agitation
Lack	Excess
Yes	No
Moon	Sun
Water	Fire
Tiger	Dragon
Black	Red
North	South
Lead	Mercury
Even	Odd

In his book “Symbol & Magic In Egyptian Art”, Wilkinson shows how Black and White are defined or symbolized.

BLACK translates as Kem. It is the color of night and death. In fact, a black hole is sometimes used to signify death as well as the destruction of enemies. Where Black signifies death or even the underworld, it also signifies the concept of resurrection from the dead, furthermore, fertility and life. It is said that the color black as a symbol of fertility may find its root in the fertile black silt deposited by the Nile’s annual flooding. In the same breath, Osiris, god of the Nile and the underworld was portrayed as black. In his canine form, the mortuary god Anubis can also be portrayed with the color black. The Egyptian coffins of the Late Dynastic Period which may be tied to the underworld god, were often decorated with writings on a black ground. It seems that there is a relation between the color black and green which shows to have the same symbolic meanings. For example, the statues of the gods were most likely carved from Black or Green stones. The black stones seemed to be of significant value and were the material of choice for the magical healing statues during the Macedonian and Ptolemaic Periods. Black (kem) is the color of Egypt itself. Kemet, meaning the Black land, is the offspring of the rich dark soil of the Nile Valley. Black is one of the colors found in the cosmos or the heavens. It is commonly portrayed in Egyptian Art such as with Nut the goddess of the sky which swallows the sun at night and gives it birth at day.

WHITE translates as Hedj or Shesep. The term Hedj is also associated with the metal silver combined with gold to symbolize the moon and the sun. White symbolizes cleanliness, purity, and sacredness. There are sacred animals such as the white cow, the white baboon, the white ox, and the white hippopotamus. White is the garment of priesthood and is also part of the clothing of most Egyptians. The White Crown of Upper Egypt, as well as the emblematic value of the color in southern Egypt. The purest form of calcite is used for building materials, statues, sculptures, decorative objects, and mortuary practices. It said that White alabaster is used to produce ritual objects such as small bowls and vessels etc. In the Hermopolitan perspective, darkness, in its masculine and feminine aspects, takes the form of the deities Kek and Kauket which are part of the eight (8) primordial deities that come in four (4) pairs. P.16 The Complete Gods and goddesses of ancient Egypt

In one aspect we can observe the word Egypt in its native tongue Ha(t)-Ka-ptah, meaning “The temple of the soul of Ptah, at the heart of Memphite Theology, on the other hand, we have Kemet the Black Land. Ptah, The Creator/The Craftsman, is one of the oldest gods of the land.

In the spiritual tradition of the great land of Bharat, we have for example the Lord Krishna translated as the Black One. In the same breath, let me take some time to elaborate on Kali (Sanskrit) the Dark Mother. Finding its roots in the Dravidian language, Kali being the feminine of Kalah “Blue-Black or Black” or Kala “Time” in Sanskrit. Her three (3) eyes are symbolic of the past present and future. She is the Destroyer as she devours time. She is portrayed with four (4) arms, with a sword in one hand, the head of a slain demon in another hand, and with the other two, she is cheering the worshippers. The sword is the destroyer of false consciousness and the eight (8) bonds that bind mankind. She also can be seen with red eyes which symbolize her fiery energy and her ability to see beyond the ordinary realms of existence. It is also her all-pervading presence, her ability to perceive truth and her piercing gaze that can destroy ignorance and illusion. The blood splattered on Kali’s face and breasts symbolize her association with destruction and transformation. It represents the violent aspect of nature and the cyclical process of life, death, and rebirth. She wears a garland of skulls symbolic of the fifty (50) letters of the Sanskrit alphabet thus infinite knowledge. She also has two dead corps “Yoginis or Ganas” as earrings. Once more, it signifies the dual nature of life and death, creation and destruction that she ultimately transcends. They serve as a reminder of her ability to conquer and overcome evil. She also comes in the form of Durga where she safeguards the world from demons and restores balance. She is barely clothed; however, she wears a girdle made of dead men’s hands which symbolize work and liberation of the cycle of Karma. Her white teeth symbolize her inner purity, and her long red tongue sticks out of her mouth to symbolize her omnivorous nature, the indiscriminate enjoyment of all the flavors of the world. She stands with one foot on her thigh, and another on the breast of her husband Shiva. In some aspect, it illustrates how the power of Kali (Shakti), plays an important role in Shiva’s life. Kali stands firm, near the cremation grounds where the five (5) elements “Pancha Mahabhuta” are joined as all worldly attachments are absolved, so the cycle of birth and death. Just like the Fudo Myoo, her fierce aspect conceals profound meaning. Beyond appearance, Kali’s black complexion symbolizes her all-embracing and transcendental nature. All colors merge to black as it absorbs and dissolves them. In the Mahanivarna Tantra, we can read “Just as all colors disappear in black, so all names and forms disappear in her” Where black is defined as the total absence of color or light, hence it is the ultimate reality that transcends all forms. Her nude body is primeval, fundamental, and transparent like nature. She is free from illusory veils, beyond all Maya or false consciousness.

We also have Shani, the lord of Saturn in Hindu astrology often portrayed with a dark complexion riding a chariot that moves slowly through the heavens. Shai is the giver of rewards and a dispenser of Justice. In the iconographic imagery, Shani is mounted on a vulture or a crow carrying multiple weapons, such as a sword, an ax, a trident, a bow, and two arrows. In the Mahanirvana Tantra’s Arthur Avalon version, we can read “Before the Beginning of things Thou didst exist in the form of a Darkness which is beyond both speech and mind and of thee by the creative desire of the Supreme Brahman was the entire universe born.” [4:25] – “I meditate upon the Deva Who is white as camphor, Whose eyes are large and beautiful like lotuses, the luster of Whose body is adorned with celestial raiments and jewels, Who holds His left hand the cup of nectar, and in the right a ball of Shuddi.” [8:168]

Alain Danielou gives a compelling take on color symbolism, in his book "Les Quatre Sens De La Vie" adapted in English as "Virtue, Success, Pleasure, Liberation - The Four Aims of Life in the Tradition of Ancient India. It is said of the tradition of Bharat, that there are four successive creations tied to four races of men. The variety of races are at different stages of evolution, coherent with the ages of life. The most ancient race, the one who comes from the caste of priests is White. The second race, the warriors, nobles, and kings are Red. The third race is the farmers and merchants and is Yellow. The fourth race is the craftsmen and is Black. Danielou says that those colors are symbolic and that the division of the four castes can be found within every "race of men" that we know. [P. 8]

In the book “The Symbolism of Colour”, Ellen Conroy speaks on the prophecy that there will be one more incarnation of Vishnu, where he will carry the sword of justice and ride the white horse, like Christ in Revelation. This white horse was also used by the people of Bharat instead of the Ram. Airies or the Ram is the constellation in which the sun starts its yearly zodiacal journey. The ram or horse means the opener of new thought, the dawn of a new era. So, the significance of riding a white horse is the opener of a new thought, the dawn of a new era. The beginning of a new kingdom on earth of joy happiness and purity. In Islam as Muhammad [P.B.U.H.], in his Isra and Mi’raj journey, he rides on a white horse. Isra refers to the night journey and ascension, where the prophet [P.B.U.H.] moves from the Kaaba in Mecca to the Al-Aqsa Mosque in Jerusalem. And he travels in the company of angel Gabriel, on a magical white horse known as Alborac or Al-Buraq which translates as lightning. Mi’raj refers to the Ascension of the Prophet Muhammad [P.B.U.H.] with the white horse, through the seven heavens to be in the presence of Allah, the Creator.

Ancient Rome conveys the white horse as sacred to Jupiter. Once a year, the consul covered themselves in white robes and they toured the Capitol to worship Jupiter as the Sun-god. Buddha himself is said to be Born on a white elephant which signifies Divine Wisdom. In some of the Buddhist Zodiac, the elephant is synonymous with the Capricorn or the Goat. Unconscious the Capricorn sign governs from December 21st to January 19th, a period when all world-saviors are said to have been Born. Osiris as well as Zeus are symbolized as white bulls within mythological narratives. Thus, the bull serves as a powerful emblem of cosmic energy and creative force. Yasodhara sees in her dream a white bull with wide branching horns as Siddhartha Gautama Buddha is escaping from the palace. Where it has become a custom that black is the color of morning, in Japan, traditionally the color white has been used as the symbol of death. For example, It is interesting to observe that a bride would traditionally wear white to symbolize her as being dead to her parents. Now married, her new life begins and she finds a new family in her spouse. The druids of Wales wore white robes as a sign of their twenty (20) years of training where the wearer had labored much and conquered many things. The druid vows to this trilogy of principles: 1. To keep his word. 2. To Keep his secret. 3. To keep peace. [P.40-45]

“The Symbolism of Colour” speaks of black as a color, despite contemporary science’s view, saying that it is viewed both by the public and the ancients as such. For the ancients black is the color of mystery and the mysterious ways and wisdom of God. For example, it speaks of Egypt where Kneph, the Creative Mind was at some point portrayed as the ‘thrice unknown darkness surpassing all intellectual perception, focusing that the wisdom of God is truly beyond the grasp of mankind’s comprehension. The name Kneph is mentioned by Plutarch which is a form of Amun as the Creator God. Thus, The Creator God is Self-Generated and was central to the faith of the habitants of Thebes. One aspect of Amun is to be the concealed God or the invisible, mysterious form expressing his imperceptible nature. Henry Vaughan is mentioned when we read that “God a deep and dazzling darkness meaning that the mysteries of God are unfathomable but glorious.” Milton accurately symbolizes Black as the color of wisdom. It is the solemn and holy shade of the goddess whose saintly countenance is too radiant for mortal’s sight to fully comprehend. Hence, in our limited perception, it is veiled in black – an understated hue that portrays the composure and gravity of wisdom. Black symbolizes eternity: thus Night, the mother of all things, was sometimes portrayed in a starry veil, holding two kids – one white and the other black to symbolize time and eternity. Osiris and Horus are said to be either painted in white or black from specific circumstances, to show that they manifested themselves through time though they were eternal. Black also means Silence, to the things that must not be unveiled to everyone – the thoughts that lie too deep for tears – the innermost and most sacred experiences of life. It is articulated that this is not done in a selfish manner, on the contrary. It says in its own way: “Give everything you can; the heavens don’t care for the wisdom of meticulously calculated moderation or excess.” It means to say that certain things can only be felt or comprehended intimately by those who have gone through the journey. In ancient times, a black rose was commonly used as the symbol of the silence of an initiate. Certain things are not to be openly expressed. "How that he was caught up into paradise, and heard unspeakable words, which it is not lawful for a man to utter.” [2 Corinthians 12:4]. "And I will give thee the treasures of darkness, and hidden riches of secret places, that thou mayest know that I, the Lord, which call thee by thy name, am the God of Israel." [Isaiah 45:3]. "And the children of Israel saw the face of Moses, that the skin of Moses' face shone: and Moses put the veil upon his face again, until he went in to speak with him [God]." [Exodus 34:35]. It is said that the great covenant to every initiate is: “I will give thee the treasures of darkness.” So as the commonly known quote says, “If you would know more you must be more.” Till then there is a veil and a shield upon the face of all knowledge. This idea certainly meets with the veil of Isis.

The utmost value of symbolism in ancient beliefs and artwork serves as a means for initiates to distinguish an artist’s true sight from the inner mysteries. Symbolic elements, such as broken pavement and almond-shaped aura, conveyed mystic truths rather than historical facts. Images portraying the elevation of Christ and the assumption of the Virgin used symbols like the sacred geometry form known as the “vesica piscis”, to express deep-seated truths concerning the elevation of the spirit and the soul. The architects, well versed in hidden truths, are the archetype ascetics of a secretive faith where cathedrals, churches, temples, mosques, and synagogues are fixed effigies testifying their comprehensive knowledge of these mysteries. It is in the eye of the beholder for the ordinary man only sees an edifice where the initiate sees the unfolding of worlds upon worlds. [P.46-49]

Vesica Piscis

In reading the book “Treasure of Darkness” by Thorkild Jacobsen, we can delve into the epic stories of Mesopotamia, the area of birth of the patriarch Abraham. There we can find many contrasts between light and dark illumination, brightness, night and day, or black in a descriptive sense, etc. On the Terms, we can read of evil powers: “They are gloomy, their shadow dark, no light in their bodies, ever they slink along covertly, walk not upright, from their claws drips bitter gall, their footprints are (full of) evil venom.” [P.12]. Dying Gods of Fertility – A Mother’s Memory of Birth, Day and Night: “I Am the mother who bore (him)! Woe to that day, that day, woe to that night! I am the lad’s mother! Woe to that day, that day, woe to that night! The day that dawned for the lad, my Damu, a day to be blotted out, that I would I could forget! Yon night that should never have let it go forth, when the brazen deputies entered before me, that day bereft me of the lad, … bereft me of the lad my Damu…” [P.64]. Individual Divine Figures – The power of the womb & the dark place: “Mother Nintur, the lady of form-giving, working in a dark place, the womb (lit. “heart”); to give birth to kings, to tie on the rightful tiara, to give birth to lords, to place the crown on (their) heads, is in her hands.” [P.107]. Individual Divine Figures – Nana’s Cosmic function & Lighting up the night: “… lamp appearing in the clear skies, Sin, ever-renewing himself, illuminating darkness, bringing about light for the myriad people.” Or as: “Nanna, great lord light shinning in the clear skies, wearing on (his) head a prince’s headdress, right god bringing forth day and night, establish the month, bringing the year to completion; who has entree to Enkur, who has the right decision-making at his father’s place, (he) who begot him, beloved son of Ninil, Ash-im-babbar.” [P.122]. Individual Divine Figures – Heaven/Light and Darkness: “On the firmament of heaven… you spread light, the darkness you illumine; upon your rising wait the Anunnaki gods with libations and petitions; upon your splendidly rising new light, full of loveliness, a goodly sight, waits for you in joy the great lady of kiur, Mother Ninlil.” [P.123]. Individual Divine Figures – Heavenly Light & Brightness as of Day: “The great queen of heaven, Inanna, I will hail! The only one, come forth on high, I will hail! The great queen of heaven Inanna, I will hail! The pure torch that flares in the sky, the heavenly light, shining bright like the day, the great queen of heaven, Inanna, I will hail. The holy one, the awesome queen of the Anunnaki, the one revered in heaven and earth, crowned with great horns, the oldest child of Suen, Inanna, I will hail! Of her majesty, of her greatness, of her exceeding dignity of her brilliant coming forth in the evening sky of her flaring in the sky – a pure torch – of her standing in the sky like the sun and the moon, known by all lands from south to north, of the greatness of the holy one of heaven to the day I will sing.” [P.138-139]. Rise Of Personal Religion – Darkness vs Day Light: “Today let me take my trespasses to you, snatch me from my foes, and when you have seen where I fell, take pity on me, When you have turned my dark stretches (of road) into daylight let me pass through your gate which releases from sin and wrongdoings, let me sing your praises, let me confess, (roaring) like a bull, my trespasses to you, and let me tell your greatness.”[P.154]. Here on the Epic of creation, we read brightness associated with joy: “Robust was his build, flashing the glance of his eyes, full-grown he came forth, mightiest from the first. Anu, his grandfather, saw him, rejoiced, and brightened, gladness filled his heart…” [P.172-173]. Allusions of days and night: “Angry, scheming, resting not day or night, they were bent on fighting, raged and prowled like lions gathered in council, they devised the strategy…” [P.173]. The Creation Epic – Darkness of silence: “Ea heard of this matter, lapsed into dark silence, wordless sat…” [P.174]. The Creation Epic – Darkness of the color of beer: “They chatted and sat down to the feast; breadstuff they ate, and drank dark beer. The sweet drink dispelled their fears, they sang for joy, drinking strong wine…” [P.175] The Creation Epic – Time, in relation to the moon and the sun: “He bade the moon come forth; entrusted night (to him); assigned to him adornment of the night to measure time; and every month, unfailingly, he marked off by a crown. When the new moon is rising over the land shine you with horns, six days to measure; the seventh day, as half (your) crown (appear) and (then) let periods of fifteen days be counterparts, two halves each month. As afterward, the sun gains on you on heavens foundations, wane step by step, reverse your growth!” [P.179]. Dark-Headed people – The Creation Epic: “Surpassing be his lordship, may he have no rival, may he perform the shepherdship over the dark-headed people, and may they speak of his ways, that they be not forgotten to the end of time. Let him establish large food portions for his fathers, let him see their upkeep, take care of their sanctuaries, let him cause incense to be smelt, have their cellas rejoice. Corresponding to what he has done in heaven, be done on earth! Let him assign dark-headed people to his worship, Let them heed his word, as if it were that of their tutelary goddess. Let food portions be brought to their (the people’s) gods and goddesses, may they not be forgotten, let them (i.e., the people) remember their gods, let them (the people) make their countries outstanding, build their throne-daises, And let individual gods be given as share to the dark-headed people. As for us, as many as we are called by name, he is our tutelary god.” [P.182-183]. On the Epic of Gilgamesh, we read of day and night: He who ever went through all hazards with me, Enkidu whom I love dearly, who ever went through all hazard with me, the fate of man has overtaken him. All day and night have I wept over him, and would not have him buried – as if my friend might yet rise up at my (loud) cries – for seven days and nights, until a maggot dropped from his nose. Since he is gone I can no comfort find, keep roaming like a hunter in the plains.” [P.203-204]. The Gilgamesh Epic – Darkness vs Daylight: “It is (so) much – after wandering and roaming around in the desert – to lie down to rest in the bowels of the earth? I have lain down to sleep full many a time all the(se) years! (No!) Let my eyes see the sun and let me sate myself with daylight! Is darkness far off? How much daylight is there? When may a dead man see the sun’s splendor?” [P.204]. The Gilgamesh Epic - Day and Night as to man’s journey: “Gilgamesh, whither are you roaming? Life, which you look for, you shall never find. (For) when the gods created man, they set death as share for man, and life snatched away in their own hands. You, Gilgamesh, fill your belly, day and night make merry, daily hold a festival, dance and make music day and night, and wear fresh clothes, and wash your head and bathe. Look at the child that holding your hand, and let your wife delight in your embrace. These things alone are concern of man.” [P.205]. Manifestations of Marduk: “Ninurta is Marduk of the hoe, Nergal is Marduk of the attack, Zababa is Marduk of the hand-to-hand fight, Enlil is Marduk of lordship and counsel, Nabium is Marduk of accounting, Sin is Marduk, the illuminator of the night, Shamash is Marduk of justice, Adad is Marduk of rains…” [P.235]

ABRAHAMIC TRADITION

When it comes to the Abrahamic traditions the two basic colors take their own meanings. It is nothing to say of the Bible’s Genesis (1:1-5) 1) In the beginning God created the heaven and the earth. 2) And the earth was without form and void; darkness was upon the face of the deep. And the Spirit of God moved upon the face of the waters. 3) And God said, Let there be light: and there was light. 4) And God saw the light, that it was good: and God divided the light from the darkness. 5) And God called the light Day, and the darkness he called Night. And the evening and the morning were the first day.

Speaking of color symbolism, the Jewish Encyclopedia online summarizes the consensus to be that at times colors are symbolically used in the Bible, either through ritual as the construction of the Tabernacle and the priestly raiments; or apocalyptically, as in the visions of Zecharia and of Daniel; or as a literary device, in poetical diction. The apocalyptic symbolism is generally granted; however, it fails when tested in detail. Based on the psychological connection between the various color sensations and moods of feeling is found among most nations. However, the bond between a given color and the symbolized objects or moods is not fixed; therefore, creates room for contrasting significance. Black or dark color as in part of our mainstream folklore translates as mourning or affliction such as the color of sackcloth used for that purpose [Genesis 37:34, Job 1:20, Zecharia 6:6-8] in another case it is just descriptive. Then you have white which is commonly linked to purity and joy [Isaiah 1:18, Psalm 51:7, Daniel 7:9]. Note that the color white is used in sacred ceremonies that mark the threshold of a new beginning, such as a baby’s circumcision or a bride’s wedding. [Black/White garments – Mishnah Middot 5:4]

In the Jewish Encyclopedia, we can read that Color symbolism plays a significant role in Kabbalah, where each Sephirah is linked to one or more colors. It is important to note that one of the meanings of Sephirah is 'sparkling light.' In this context, if one wishes to energize the influence of a certain Sephirah, one must contemplate or clothe oneself in the color linked to that Sephirah. White signifies peace, mercy, and pity; black is, the latency of qualities. The Sephirah of Wisdom is said to denote the first step from black (latency) to the unfolding of color which is active energy in general.

Here are some common colors linked to the Sephirah:

1. Keter (Crown): White or Clear

2. Chokhmah (Wisdom): Grey or Silver

3. Binah (Understanding): Black or Dark Blue

4. Chesed (Kindness): Blue

5. Gevurah (Severity): Red

6. Tiferet (Beauty): Yellow or Gold

7. Netzach (Eternity): Green

8. Hod (Glory): Orange

9. Yesod (Foundation): Purple

10. Malkhut (Kingdom): Indigo or Brown

In the same breath, the Jewish Encyclopedia elaborates on the Degrees of White, Degrees of Lightness, and Degrees of Darkness. When it comes to the Degrees of White, it says that white or glowing white is usually articulated in the bible in the name of “Laban” the father-in-law of Jacob who is speaking of the color of sheep or goats. ”I will pass through all thy flock today, removing from thence all the brown (Black in some versions) cattle among the sheep, and the spotted and speckled among the goats: and shall be my hire…” [Genesis 30:32-37]. Then we have the whiteness of teeth whiter than milk [Genesis 49:12], the whiteness of manna and coriander-seed-white. “And the house of Israel called the name thereof Manna: and it was like coriander seed, white; and the taste of it was like wafers made with honey.” [Exodus 16:31]. Manna is the heavenly substance mentioned in the bible, given by the Creator to the Israelites during their travels in the desert for 40 years following the Exodus and before the conquest of Canaan. According to the book of Exodus, manna is described as a fine, flake-like substance that appeared on the ground after the dew evaporated. It is white in color, tastes like honey wafers, and looks like small coriander seeds. The Israelites were instructed to gather approximately two quarts of manna per people each day except for the day of Sabbath when they were to gather a double portion. The manna did not spoil overnight except on the Sabbath. We can observe three (3) references to manna in the Qur’an. 1) [Surah Al-Baquarah 2:57] “And We made the clouds to give shade over you and We sent to you manna and quails. Eat of the good things that We have given you. And they did Us no harm, but they wronged their own souls.” 2) [Suran Al-A’raf 7:160] “And We divided them into twelve tribes, as nations. And We revealed to Moses when his people asked him for water: March on to the rock with your staff; so out flowed from it twelve springs. Each tribe knew its drinking place. And We made the clouds to give shade over them and We sent to them manna and quails. Eat of the good things We have given you. And they did not do Us any harm, but they wronged their own souls.” 3) [Surah Taha 20:80-81] “O Children of Israel, We truly delivered you from your enemy, and made a covenant with you on the blessed side of the mountain, and sent to you the manna and the quails.” “Eat of the good things We have provided for you, and do not exceed the limits in that respect, so that My wrath comes upon you; and he on whom My wrath comes, he perishes indeed.” Other than that, we have whiteness of leprous hair [Leviticus 13:3-4,10], of garments [Ecclesiastes 9:8], and horses [Zechariah 1:8; 6:3,6]. Some shades of white are snow white [Numbers 12:10; 2 Kings 5:27; Psalms 68:14; Isaiah 1:18], and dull white [Leviticus 13:39]. The noun “loben” translates as whiteness [Ecclesiasticus 43:18, Sirach 43:18]. The moon's account of its pale light is called “lebanah”. The Aramaic terms corresponding to “laban” are “hawar”, used for the face becoming pale with shame [Isaiah 29:22], and hiwwar meaning white, applied to a snow-white garment [Daniel 7:9]. The white color may be as white as snow, as the calcimining in the Temple, as wool, as the cuticle of the egg speaking of the color of the leprous spots, as pearl [Babylonian Talmud - Yoma 75a], or as the wood below the bark [Chullin 47b]. The color of the stone “Yahalom”, probably milky opal, is white [Numbers 2:7]. “Libbun” [whitening] is used of wool [Bava. Kamma. 93b]. “Libben” means “to bleach cloth” [Jerusalem Talmud Berakhot 9:1, 13c], “to glaze tiles” [Beitizah 4:7], “to heat to a white, heat iron instruments” [Mishnah Avodah Zarah 5:12]. “Hilbin” signifies “to grow white”, used of hair [Negaim 1:6]; “to whiten the wing of a raven” [Canticles. R. 5:11]; “to cause paleness of face through shame” [Babylonian Talmud Pirkei Avot 3:11.]. Hence, “labnunit” meaning whiteness, [Negaim 4:4], and the by-form “labnut” [Leviticus. R. 14]. The verb “kasaf”, in various forms, is used to indicate paleness of countenance caused by shame or fright [compare Jastrow, “Dict.” s.v.]. The word is perhaps connected with “kesef” [silver]. Notice also “lawkan”, “lakan” = the Greek λευκόν [Albino, or white-spotted in the face, Ber. 58b]. to express the idea of the hair becoming grayish white through old age, the root “sib” is used [1 Samuel 12:2; Job 15:10], whence the derivative “sebah” meaning “gray hair” [Genesis 42:38; 44:29, 31; Deuteronomy 32:25; Hos. 7:9; Proverbs 20:29], or the “hoary hair” of old age [Isaiah 46:4]. In Aramaic the roots “hawar”, “kesaf” and “sib” are used in the same senses as in Hebrew; add to which “kitman” [ash-gray, Targum To Zechariah 6:3, 7].

Degreed of Lightness

Here we explore the various Hebrew and Aramaic terms related to brightness, clarity, and color, particularly in biblical contexts. The term “Zak” meaning clear or pure, translates in the bible as the whiteness of the complexion [Lamentation 4:7]. Other terms such as “zahob” meaning glistening like gold just as the golden tint of hair [Leviticus 13:30,32,36]. The hof’al participle “muzhab”, to pure gold or brass/Bronze [Ezra 8:27]; “zah” [glowing, glistening], to the glow of a healthy complexion [Canticles 5:10]; similarly, with the additional idea of whiteness, in Lamentation. 4:7; to the clearness of a dry, hot atmosphere [Isaiah 18:4]; and to a dry, hot wind [Jeremiah 4:11]; and “zahor” "ẓaḥor" [light reddish; "white"], to the color of the ass [Judges 5:10]. The term "Bahaḳ" [be glistening white] is used in the later Hebrew to denote the color of the human skin in a diseased condition [Leviticus. 8:39]; "hibhiḳ" [to glisten], is used for jewels [Gen. 31:11]; idem [be bright], of the countenance; "hizhib" [become golden-hued], of a dove's plumage [Chullin 22b]; "hiẓhib" [to become glistening], of the metallic color of the dove's plumage [Chullin 1b], an earlier stage of coloration of plumage than the preceding hizhib; "ẓihub," of the getting of such color ibidem; "hiẓhil" [become bright], of the countenance [Gen. 97:1]; "hiẓhir" [make bright], of the skin [Leviticus. 5:3]. Aramaic: "barir" meaning “pure” = "zak" [Lamentation. 4:7]; "ẓehal" = Hebr. "hiẓhil" [Pesiḳ. R. l.c.]; "ẓehir" [bright] and "ẓihara" [brightness], use of the surface of the peeled grain, and of a clear, translucent liquid "faẓiaḥ" [clear] = Hebr. "ẓaḥ" [Targ. to Isaiah. 18:4], and [speckled] = Hebr. "bared" [Zechariah. 6:3].

Degrees of Darkness

The usual term in the Bible to express the idea of darkness is "shaḥor" meaning “black”. It is used of the dark hair in a leprous scall [Leviticus 13:31, 37], of a sunburnt skin [Job 30:30; Canticles 1:5], and of dark horses [Zechariah. 6:2]. The diminutive form "sheḥarḥor" is applied to a swarthy complexion [Canticles 1:6]. When it is desired to express a particular shade of dark, another substantive is added for a closer definition, as "oven-black" [Lamentation. 5:10], and "raven-black," of hair [Canticles 5:11]. "Ḥum" [literally, "hot,", then "dark," "brown"] is used for the wool of sheep [Genesis 30:32 and passim]. "Ḳadar," meaning primarily "to overpower," then "to be sad, gloomy, dirty, or dark" [compare the explanation of "shaḥuf," below], is applied to the turbid state of water [Job 6:16], to a sad countenance [Jeremaiah. 8:21], to mourning garments, to the gates of a mourning city [Jeremaiah. 14: 2], and to the sky [ib. iv. 28]. The hif'il of the same verb is used in a causative sense, e.g., "make dark" the heavens [Ezekiel 32:7-8], "cause sadness" [Jeremiah 31:15]. The hitpa'el of this verb means "to become dark" with clouds of the sky [I Kings 8:45]. The noun "ḳadrut" signifies "blackness" [Isaiah 1:3]; and the adverb "ḳedorannit," "wrapped in mourning" [Malachi 3:14]."Ḥashak" [to be dark], a word generally employed to signify the darkness of approaching night [Isaiah. v. 30; Job 18:6], is also used of the eyes becoming dim [Lamentation. 5:17] or blind [Psalms. 69:24], and of a black complexion [Lamentation. 4:8]. Hence the terms "ḥoshek" meaning darkness, "ḥaklili" [Gen. 49:12], and "ḥaklilut." [Proverbs. 23:29] refers to the darkly lustrous or inflamed appearance of the eyes. The second, as used in [Genesis. 49:12], refers to the sparkling luster of dark-red wine, comparing the beauty of Judah's eyes therewith; the third [Proverbs. 23:29] is descriptive of the inflamed eyes due to protracted night sessions over the wine cup at the wineshops [see Jastrow, "Proc. Soc. of Biblical Exegesis," 11:128]. "Kimrir" [Job 3:5], originally "casting down," "oppression," seems to mean "blackness" [compare "shaḥuf," below].

Then it is said that in the later Hebrew "shaḥor" is frequently more nearly defined as "ink-black" [Niddah 2:7], or "black as the sediment of ink" ibidem, like black wax, pitch, grapes, olives ibidem, "mouse-gray" [Pesachim. 10b:6], or as black as a negro or Cushite [Mishnah Sukkah 3:6]. In Numbers 2:7, the term "shaḥor" is applied to "bareḳet," probably taken here as sardonyx, and described as consisting of one-third white, one-third black, and one-third red; to "sappir," black like stibium [i.e., metallic grayish blue [?]; to "leshem" and to "shebo," probably gray amethyst, said to be mixed black and white. The "shoham"—here the deep sea-green beryl—is said to be "shaḥor'ad meod" (very dark). Hence, "shaḥrurit" = the Aramaic "shaḥrurita" [blackness, darkness, Ta'anit 23a:12; Bava Ḳamma 20b:11; Bava Metiza. 117b:2] and the by-form "sheḥarḥrut" [Canticles 1:6]. "Sḥeḥamtit" (brownish), of the color of grain [Bava Batra. 5:6], is sometimes contracted to "shamtit" [Yerushalmi Ma'aser Sheni 4:54d]. Aramaic: "sheḥum," "sheḥim," literally "warm," "hot," = the Hebrew "ḥum" (brown, Targ. O. to Gen. 30:32)."Shaḥuf" or "ṭaḥuf" as gray or dark, a term which is used of sheep's wool [Chullin. 11:2, 136b), goes back to "saḥaf" meaning cast down. The variation in the first consonant points to a differentiation of an original "thakhaf." (On the development of meaning from the idea of overpowering, casting down, oppressing, to that of darkness, compare "ḳadar," above, and Levias, "Babyl. Aram. Gram." p. 210, note 6). "Piḥem meaning to blacken, soil, denominative of "peḥam" or coal, is used of soot, the sun, and other things. The passive of this may be used in the pu'al and nitpa'el (compare Jastrow, "Dict." s.v.). The verb "shetak" is used to designate "rust-colored" or "bronze" [Ta'an. 8a]. Aramaic: "ukkam," originally signifies "oppressed," then "black" (compare Levias, l.c.); "leḥush," literally "glowing," then "brown" “black lamb” "I will pass through all thy flock today, removing from thence all the speckled and spotted cattle, and all the brown cattle among the sheep, and the spotted and speckled among the goats: and of such shall be my hire. “So shall my righteousness answer for me in time to come, when it shall come for my hire before thy face: everyone that is not speckled and spotted among the goats, and brown among the sheep, that shall be counted stolen with me.” “And Laban said, Behold, I would it might be according to thy word.” “And he removed that day the goats that were ringstraked and spotted and all the goats that were speckled and spotted, and everyone that had some white in it, and all the brown among the sheep, and gave them into the hand of his sons.” [Targum Yerushalmi. to Genesis. 30:32, 33, 35]; "ḥalid" (rust-colored [?]); compare [Targum Job 11:17 Ms.; Marcus Jastrow Dictionary]. "Ḳewaḥ" or "ḳaḥaḥ" (deep black) is applied to horses [Targum. to Zechariah 1:8].

In Islam, depending on what is the subject, in the Qur'an the use of colors is descriptive. It is a question of nuances, of symbiosis as well as opposition. We talk, among other things, of the opposition between clarity-light and obscurity-gloom and the various colors. We thus evoke day and night, the colors manifesting naturally in the light. Black and White are among the colors that are mentioned the most in the Qur’an where both carry negative connotations from time to time. Now, the colors that seem to have been more suitable for men's clothing are Black and White. The significance of color in the Noble Qur'an is clearly summarized by Muna A. Al-Shawi in her article in the Arab World English Journal. White is the second stated color and in the Qur’an, it is mentioned twelve times. The connotations are:

1. The light, sunshine, time of dawn and morning.

2. The color of the faces of Paradise’s people.

3. Some diseases, such as the eyes go“dark” because of grief.

4. When Moses' hand turns white as a sign of a miracle.

5. The color of the drink in Paradise.

Black is the third color mentioned in the Qur’an 8 times in 7 verses with the following connotations:

1. The darkness of the night.

2. The color of the faces of people in the fire.

3. Anguish, worry, and, sadness.

4. The dryness and destruction.

5. The color of some mountains.

In the Qur’an, we read: “Surely your Lord is Allah, Who created the heavens and the earth in six periods, and He is established on the Throne of Power. He makes the night cover the day, which it pursues incessantly. And He created the sun and the moon and the stars, made subservient by His command. Surely His is the creation and the command. Blessed is Allah, the Lord of the worlds!” [Al-A’raf 7:54] Also, “…Eat and drink until the white thread becomes distinct to you from the black thread of the dawn. Then strictly observe the fast till nightfall [Surah Al Baqarah 2:187]. I find the surah [Al-Imran 3:106] compelling for the meanings scholars may tie to it. “On the Day when some faces will turn white, and some faces will turn black. As for those whose faces turn black, [to them will be said], ‘Did you disbelieve after your belief? Then taste the punishment for what you used to reject.” We can also read on surah [Al-Zuma 39:60] “And on the Day of Resurrection, you will see those who lied about Allah [with] their face blackened. Is there not in Hell a residence for the arrogant?” Those who construe those two surahs, literally claim that on the day of judgment, people’s faces will physically change as their spiritual state or their deeds in the worldly life. However, others view it metaphorically, grasping the change of color as a symbolic representation of the spiritual and moral condition of each people. Therefore “White faces” may symbolize those who are righteous and will be granted blessings and forgiveness, while “black faces” may symbolize those who are sinful disbelievers and will face punishment. Then we can read other surahs such as [Al-Hijr 15:26-29] “And surely, We created man of sounding clay, of black mud fashioned into shape. And the jinn, We created before of intensely hot fire. And when your Lord said to the angels: I am going to create a mortal of sounding clay, of black mud fashioned into shape. So when I have made him complete and breathed into him of My spirit, fall down making submission to him. I have to say that beyond black and white, the Qur’an puts the emphasis on diversity as part of creation [Surah Al-Rum 30:22] “And of His signs is the creation of the heavens and the earth and the diversity of your tongues and colors. Surely there are signs in this for the learned.” In surah [Fatir 35:27-28], we read “Do you not see that Allah sends down from the clouds water, then brings forth with it fruits of different kinds (or colors). And in the mountains, there are streaks, white and red, of different colors, and some intensely black. And of people and animals and cattle there are different colors likewise. Only those of His servants’ fear Allah who possess knowledge.".

When it comes to Light, we have the surah [An-Nur 24:35] “Allah is the Light of the heavens and the earth. The example of His Light is like a niche within which a lamp, the lamp is within a glass, the glass as if it were a pearly [white] star lit from [the oil of] a blessed olive tree, neither of the east nor of the west, whose oil would almost glow even if untouched by fire. Light upon light. Allah guides to His Light whom he wills. And Allah presents examples for the people, and Allah is Knowing of all things.” For Darkness, we can read the surah [Al-Baqarah 2:257] “Allah is the ally of those who believe. He brings them out from darkness into the light. And those who disbelieve – their allies are Taghut. They take them out of the light into darkness. Those are the companions of the fire; they will abide eternally therein.” In Surah [Al-An’am 6:1] “Praise be to Allah, who created the heavens and the earth and made the darkness and the light. Yet those who disbelieve set up equals to their Lord.”

BANTU COSMOGONY

In the Book titled “Une Bible Noire – Cosmogonie Bantu” collected by Tiarko Fourche and Henri Morlighem we are transported to a paradigm that gives us new insight. It is surprising what alternative is brought to us in comparison to the more common spiritual concepts known in the Western hemisphere. The concept of Black/White and Dark/Light is fashioned in its way. Where the contrast between the basic colors or shades is expressed in negative/positive connotations, the sens evolves as we get into the language of the book. The color black vis-à-vis white is such as low/high, earth/sky, female/male, younger/elder, weak/strong, choleric/peaceful, death/life, etc. Now, the question can be raised as to whether the meanings are figurative or literal, and how they evolve and vary in context.

The Scheme Of The Division Of The Universe

Thus, We can read of the Creator named Maweeja Nnangila:

“He created, therefore, first, and in this way, in twin pairs:

-        Energy and Breath.

-        Water and Fire.

-        Sky of the Summit and Earth.

-        Light and Darkness.

-        The two Great Luminaries (the Sun and the Moon), and the Stars.

*Energy and Breath, Water and Fire, Light and Darkness of the Sky of the Summit are things that existed in Maweeja Nnangila, and he caused them to emanate from his own person.” [P.37].

"On the other hand, Maweeja Nnangila created in two twin pairs, the elders of the four Colors, which are:

-        Zezeze, elder of white, elder of this twin pair and male, and his younger sister and female Yinuyinu, elder of black.

-        Tetete, elder of red, elder of this twin pair and male, and his younger sister and female Bidibidi, elder of the Ambiguous color.

-        White has the quality of male and strong Life.

-        Black has the quality of female and weak Death. Red has the quality of male and strong death.

-        Ambiguous has the quality of female and weak Life."

"It is only later, when Maweeja Nnangila banished the Earth from the Summit Sky, thus creating two other Great Places among All-Things, that these four colors specified these places, and the four kinds of Elements and Stars attached to them.

This is why some say: Maweeja Nnangila created four Energies and four Winds, four Waters and four Fires, four Lights and four Darknesses, and four kinds of Suns, Moons, and Stars. While initially, he had created only one kind: the one detached in the Summit Sky, and the others, in their respective places, are the images.

As Maweeja Nnangila created the Younger things or Creatures using the Elements, these Colors, subsequently, specified (definitely or occasionally) All-Things created and all their details.

Their qualities appear to the initiated based on the appearance and mode of action of the things to which they belong. To the uninitiated, they manifest in visible colors, for example: those of rocks and soils, animals, body fluids, etc...

Similarly, initially, Maweeja Nnangila created All-Things in goodness, in even numerical order, distributing equitably his profane science and secret science."

*Notes 11 and 12 explain that some untranslatable words belong to the specialized vocabulary of initiates. They qualify prefigurations of colors, "alchemical" colors. This concept of "colors of creation" is reminiscent of the Hindu conception of the seven rays that, according to esoteric doctrine, have successively tinted the creation. The connection is all the more striking as the word with a very general sense, "Dikolo" (plural: Makolo), which here means "color," is translated as "row," "line," or "ray," with a nuance suggesting order. On the other hand, "l'équivoque," which does not exactly translate to gray but refers to all non-clear colors, will itself be subdivided into four shades, making a total of seven colors: white, black, red, undecided, whitish, blackish, and reddish. Note that in everyday language, the term "Noirs" clearly designates only the four colors. "Black" is used for dark blue, and "red" or "black" for violet depending on its nuances. The term "équivoque" or its subdivisions qualify the other colors. Many locals use "black" for dark green and "red" for bright green. We doubt whether the question of racial color blindness has been studied. "Bidibidi" can be translated as equivocal, undecided, or in-between, and would approximately support the translation of "gray" in this context. [P.42-43] 

"He spread Light among all creatures to warm and stimulate them; he spread Night among all creatures so that they could rest after the toils of the day." [P.50]

"The Archer never tires of stringing his bow and shooting arrows; similarly, Maweeja Nnangila never tires of creating. It is said of his creative power:

Countless beings eventually proceed from a single egg: thus the multitude of All-Things arises from One Single.

See that when Maweeja Nnangila created the Giant animals and the Spirits of the Sky Summit, he first created the largest among them, then the others, down to the smallest in multitude.

When he created the Stars, he first created the largest among them, then the others, down to the smallest in multitudes.

In the principle, he created the Stars, creating only two great places, the Sky Summit and the Earth, with one kind of Stars, Energy and Breath, Water and Fire, Light and Darkness."[P.71]

"The Sky Summit is White, the Earth is Black, the depth of the Earth is Red, and the Banana Village is of an Indecisive color." Indeed, while creating these four Great Places and having separated the Earth from the Sky Summit, Maweeja Nnangila simultaneously created, in two twin pairs, four Colors as images of the primordial Colors of creation. These Colors manifested as follows:

-        White, the elder and male twin, with strong Life, like the zeezeeze it mirrors.

-        Black, the younger and female twin, with weak Death, like the inuinu it mirrors.

-        Red, the elder and male twin of the second pair, with strong Death, like the teeteete it mirrors.

-        Indecisive, the younger and female twin of this second pair, with weak Life, like the Équivoque it mirrors.

-        The number of these four Colors was raised to seven by creating, in two twin pairs, four varieties of Indecisive:

-        Indecisive-White or Whitish, the elder and male twin, with the quality of White but weaker.

-        Indecisive-Black or Blackish, the younger and female twin, with the quality of Black but weaker.

-        Indecisive-Red or Reddish, the elder and male twin, with the quality of Red but weaker.

-        Indecisive-Indecisive, which is the very Indecisive, the younger and female twin.

As mentioned, these Colors were spread among All-Things and all the details of these Things. These Colors, whether visible to the profane or only perceptible to the initiated, manifest the qualities they confer.

Notes 63-64: Originally, everything was "white," in the image of the sky summit. "zeeezeeze," "inuinu," "teeteete" are ideophones for white, black, and red. [P.93-94]

"He created:

The White Waters, which are male and of strong Life: Brain Fluid, Mother's Milk, and male and female Seeds.

The Black Waters, which are female and of weak Death: male and female secretions.

The Red Waters, which are male and of strong Death: Blood, Bile, and Menstrual Fluid.

The Waters of an Indecisive Color, which are female and of weak Life: Tears, urine, saliva, Lung Fluid, and some say, "grilled" sperm.

Since the Earth was banished from the Sky Summit, each of these Waters, depending on individuals or occasions, can remain in its Color or take one of the other three. The same applies to the organs to which they belong.

However, it is said that originally, All-Things created by Maweeja Nnangila were White, in the image of the Sky Summit."

Note 76: For example, a peaceful faith is white; choleric, is black; malefic, red, etc. Fertilizing seed is white; less fertile, indecisive; less fertile, black; sterile, red; etc. [P.100]

"These last three powers, which Maweeja Nnangila obscured, weakening the Spirit of Man when he transformed it, are powers belonging to the Good Spirits of the Summit Sky and to the good Spirits of deceased humans. The Evil Spirits also have them, but they lack the power to exercise them for good."

"For the Double-Whole of Man in that era, made of these three parts, some say, devoid of a Ghost, others say, was of white color; animated by the white Energy of that time, and by the White Breath of Maweeja Nnangila." [P.104]

"So that there was only one Energy and one Breath, one Water and one Fire, one Light and only Darkness, one Sun, one Moon, and only Stars."

"The Water and Fire that formed them were good; the Energy that animated them was good; the Light and Darkness that alternated among them were good; the Earthly kind of Stars merged into a single appearance, that of the Stars of the Summit Sky." [P.109]

"And they plunge into the place called the 'Depth of the Earth,' the third Great Western Place, which Maweeja Nnangila creates at this moment as the abode for all those he wants to punish forever, through the dizzying descent of the Milky Way." [P.119]

"They are called 'tributes of White foods,' the non-bloody offerings."

"For example, the cultivators offer various seeds, the firstfruits of their crops, and dough made from the first flour, or dried eels from women's small fishing, to the good spirits of deceased cultivators, to make their crops and small fishing favorable, and ward off famine. This is one of the types of offerings of White foods." [P.132]

"Know also that the nightly Sleep is the image of this Death and of our individual Death. That our awakening every morning, when the Rooster wakes at dawn all the animals and all men, is the image of this resurrection and of our Reincarnation."

It is also in the image and imitation of that Evening of Death, where creatures went back to sleep from their sleep of Death, and of that Dawn of Resurrection, when they rose again, that the initiates proceed during the ceremony in which they make the new initiates or the new seers and mediums communicate with the Spirits of their deceased peers so that they may transmit to them their knowledge and secret powers.

In the evening, they make them enter the Pit where they fall asleep in the sleep of Death, perceiving the Doubles of these Spirits and receiving their teachings.

At the dawn of the next day, they awaken them from this sleep, comparable to Death, no longer profane but with open eyes, due to their Resurrection to the new Life and the new Light that enlightens them." [P.137]

"He placed his two Great Luminaries there to illuminate the Animals and Humans: the Sun during the day and the Moon during the night.

According to the orders, the Sun falls asleep every evening, enclosing itself in its cocoon. And every morning, it wakes up at dawn, at the crowing of the rooster, resembling the Resurrection of the creatures when the Elder Spirit, son of Cyame, resurrecting himself, raised the Rooster to wake up the Sun and all creatures.

According to the orders, the Moon falls asleep for three days at the end of each of its lunar phases; then it wakes up in the evening, illuminating the night for twenty-seven to twenty-eight days.

These two Great Luminaries are also the Responders of the "Occult Power," the invisible Master of the lodges of initiates, for he is the representative of Maweeja Nnangila on Earth, and Maweeja has the Sun and the Moon as his invisible Responders from the Sky Summit.

It is in this image that two great torches, representing the Sun and the Moon, illuminate from the right and the left, at the center of the Secret Place of the lodges, the living and speaking effigy of the "Occult Power"; and the highest dignitary among the lodge initiates wears the image of the Sun on the forehead and the image of the Moon on the nape of the neck as insignia." [P.149]

Note 100 [P.134]: It will be seen later that this 'Occult Power' (Bwadi among the Baluba), the invisible Master of the lodges of the initiates, is a simulacrum of magical operation, inspired by the Spirit of a deceased ancestor, a high dignitary in his lodge.

"So, Energy, Wind, Fire, Light, and Darkness followed the Earth with Water, and they remained henceforth attached to the Earth.

They manifested on Earth, detached from Energy, Breath, Fire, Light, and Darkness—invisible to the profane—from the Sky Summit. The terrestrial form of Breath is called Wind, and the terrestrial form of Darkness is called Night." [P.150]

"By separating the Earth and the Things of the Earth from the Sky Summit, Maweeja Nnangila metamorphosed them.

When they were united with the Sky Summit, they were like it, of the White color, the eldest, male, strong, and of great life—this is the color of things absolutely good, which never die.

From the day they were banished, the Earth and the Things of the Earth became Black in color.

Therefore, it is said: the Earth, Energy, Wind, Water, Fire, Light, Night, and the Stars of the Earth are Black.

This color signifies the fundamental quality that the Earth and the Things of the Earth have taken since then.

The Black color is the younger of the White color. It is female, weak, and of small death.[P.151]

"This is how, for example, the initiates of the High Science of the Kingdom, who are the representatives of Maweeja Nangila on Earth, and the things that belong to them or correspond to them, are White. – That the initiates of the Magic of Overwhelming and malicious magicians, who are the representatives of the Evil Spirit Kavidividye, and the things that belong to them or correspond to them, are Red. – And that everything on Earth that belongs to or corresponds to the Good Spirits of the deceased is Indeterminate." [P.152]

"This is how the Spirit of Man has weakened and darkened. Like the river at the same time." [P.155]

"At the Upstream is where all the Stars awaken and appear.

As they reach the middle of the Sky, they follow the Upstream path along with the celestial river of Water that carries them along, until the Crossroads of the Milky Way.

When the Sun wakes up and rises Upstream at Dawn, all creatures on Earth, animals and humans, wake up to Life.

When the moon first appears in the sky, Upstream, the Doubles of the Departed wake up and manifest their activity."

Note 120: "Milky Way, "Massangu aa njila wa museesu" (crossroads of the paths of the great road). Wake route, "Njila wa mulanjilanji". The locals place this crossroads at the point where it divides into its two branches, the one leading "up," to the Summit Sky, is supposed to exit, invisibly, beyond the visible or "intermediate" sky." [P.173]

"The sunset, downstream, is the moment when the Night darkens all things on Earth, and when all creatures of the Earth, animals and humans, weaken, falling asleep in the sleep of Death."

"When the Moon disappears from the Sky, downstream, at the end of each lunar cycle, the Doubles of the deceased fall asleep and remain inactive. At this moment, charms become ineffective; the elderly lose their vigor, and women lose their fertility." [P.174]

"Maweeja Nnangila thus distributed and arranged all the Spirits and All-Things into four Great Places, which are:

-        In the order of their creation:

The Summit Sky, and the Earth, its younger twin.

The Depth of the Earth, and the Banana Village, its younger twin.

-        In the order (descending) of their pre-eminence:

The Summit Sky, White in color, the best.

The Banana Village, with an Indecisive color.

The Earth, draped in Black. The Depths of the Earth, tainted in Red, (the worst)."

...

"The Summit Sky is the Grand Place Above.

Invisible to the uninitiated, as is the Upstream Path of the Milky Way that leads to it.

This Path branches off not exactly at the Milky Way Crossroads, but very close to it, at the entrance of the Upward Path.

The Summit Sky and its Upward Path are of White hue, their brilliance surpassing all that is bright.

The Summit Sky is the eldest of all Grand Places. It dominates them by its seniority.

Hermaphroditic but male in relation to the Earth, it holds the preeminent strength of male entities.

This strength is manifested through its Life, a quality of its White color. Its Life surpasses all other lives in force; everything belonging to the Summit Sky never dies but lives forever.

Hence, the goodness of its White color is superior to all other goodness. Its elements and stars, invisible to the uninitiated, are excellent, immortal, of a perfect White color.

It is the realm of Maweeja Nnangila, its Grand Lord; the residence of the Good Spirits of the Summit Sky and the Giant Animals, their Responders, all invisible to the uninitiated, excellent, immortal, and of a perfect White color, as they have only Spirit bodies. And all the other things of the Summit Sky, sharing the same nature. These invisible Spirits and Animals are numerous. " [P.176-177]

"The Earth is the Great Place Down Below.

The Lower Path that leads to it is visible to all eyes. It departs from the Crossroads of the Milky Way and heads downwards, toward the constellation "The Four Places of the Earth" (Southern Cross).

The Earth and its Lower Path are of a Black color."

...

"Similarly, it is said that the Elements and the Celestial Bodies of the Earth are black. By this, it is meant that the Life they confer is subject to Death, but not to final Death.

The Sun of the Earth dazzles the eyes, the Moon of the Earth illuminates our Nights. Their brightness and light fade in comparison to those of the two Great Luminaries of the Summit Sky, which eclipse them; that's why they are said to be black.

Know also that the Earth and everything belonging to the Earth is originally black, but black is not the only color that exists on Earth. "

" Each of the other Grand Places has its defined and unchanging color, while on Earth, we see things that are (symbolically or actually) white, red, indecisive, or that transiently take on one of these other colors."

"Indeed, all colors come together on Earth because these things have been or can be influenced by those of the other Grand Places. Thus, on Earth, what is influenced by the Summit Sky is White; what is influenced by the Good Spirits of the deceased is Indecisive. You also see the four varieties of the Indecisive."

" It also means that the Earth itself is divided, in its height, into four Places. These Places each have their (relative) color, although the entire earth is fundamentally Black. They are:

-        The Earth from Above, or Intermediate Sky, borne by the Water from above the Earth, is of a white color. It is the residence of the Earth's Stars, its Sun, its Moon, and its Stars.

-        The Earth of Men, or the Surface Earth, is of a black color. It is where living men, living animals, plants, stones, and all things of this Earth dwell.

-        The Earth of Graves, a shallow, clayey land of an undecided color, where the spirits of men temporarily stay after their death, near their corpses.

The Earth of the Lower, a very deep land opposed to the Earth of Men, covered by the reservoir of the Earth's Lower Water, of a red color. A tough and very bad land, also called "Abyss of Below" and "Bad Red Earth," located in the direction of the Earth's Depth, often confused by the laymen with the latter."

" Maweeja Nnangila created four kinds of humans, Humans of four Colors.

Later on, the spirits of the deceased revealed to initiates that these four kinds of humans had come together in two sectors: the Whites had joined the Reds, and the Blacks with the Indecisive. Since that day, the Earth is represented by two sectors of ten circles each." [P.181-183]

That's why some say that the depth of the Earth is Darkness, and the Stars are "Black."" [P.185]

"Know that all the Spirits of the Summit Sky are Good Spirits, of White color, with faculties and powers that are Grand Pair and go by twelve or multiples of twelve." [P.204]

" When these Spirits belonged to the Summit Sky, they were animated by the Energy of that Sky, which is absolutely White. From the moment they were cast down, they were animated by that of the Depth of the Earth, which is absolutely Red and of Great Death, just like everything that reveals this Bad Grand Place, which is Red Light and Darkness." [P.210]

" The Great Luminaries, images of the Sun and the Moon, are located respectively in front and behind Occult Power, and surrounded by places called "Night."" [P.228]

" FIRE: There are 4 Fires, of two kinds, White and Black:

1.      The Fire of the Profanes, White Fire, from Trees or Stones

2.      The Fire of Magicians and Lightning Casters (Black)

3.     The Fire of the Trees-of-Nothing

4.     The Fire of Water and Water-Rock."

EARTH: There are 4 Earths:

1.      The Red Earth of Ndingga Clay: name of a red earth

2.      The Earth of the Great Rock (at the heart of the Earth or life of the Earth)

3.      The White Earth of Kaolin and Clay

4.      The Black Earth."

[P.241-242]

POPOL VUH

The Popol Vuh is the Quiché Mayan book of creation known to be the most important text of the native languages of the Americas. In his definitive Edition, Dennis Tedlock translates this epic text with additional commentaries and explanations. This book puts another piece to the puzzle of connotations and significance. In his preface, Tedlock writes that “the Popul Vuh tells the story of the emergence of light in the darkness, from primordial glimmers to brilliant dawns, and from rainstorms as black as night to days so clear the very ends of the earth can be seen…” [P. 15]

We can observe through the book how the two contrasting or complementary tones are expressed in the Popul Vuh, and how once more the language shapes the perception of the world.

“Grandmother of Day, Grandmother of Light” among those who are called the midmost seers as the Maker, and Modeler fashioned them. [P. 69]

“…The earth was blackened because of this; the black rainstorm began, rain all day and rain all night. Into their houses came the animals, small and great.

…

“Every day, every day,

In the dark, in the dawn, forever,

r-r-rip, r-r-rip,

r-r-rub, r-r-rub,

right in our faces, because of you.” [P. 72]

“This was when there was a dawn on the face of the earth, there was no sun, But there was one who magnified himself; Seven Macaw is his name. The sky-earth was already there, but the face of the sun-moon was clouded over. Even so, it is said that his light provided a sign for the people who were flooded. He was like a person of genius in his being.

“I am great. My place is now higher than that of a human design. I am their sun and I am their light, I am also their months.

“So be it: my light is great. I am the walkway and I am the foothold of the people, because my eyes are of metal. My teeth just glitter with jewels, and turquoise as well; they stand out blue with stones like the face of the sky.

“And this nose of mine shines white into the distance like the moon. Since my nest I metal, it lights up the face of the earth. When I come forth before my nest, I am like the sun and moon for those who are born in the light, begotten in the light. It must be so because my face reaches into the distance, “ says Seven Macaw. [P.73-74]

“And they came to Crossroads, but here they were defeated at the Crossroads:

Red Road was one and Black Road another.

White Road was one and Yellow Road another.

There were four roads, and Black Road spoke:

“I am the one you are taking. I am the lord’s road,” said the road…”[P. 95]

“…After that, they came to the Dark House, a house with darkness alone inside.

“This ball of theirs is just a spherical knife. White Dagger is the name of the ball, the ball of Xibalba.”

“…When these were brought to One and Seven Hunahpu they were they were cowering, here in the dark. When the bearer of their torch and cigars were burning.” [P. 96]

“This is the first one: the Dark House, with darkness alone inside.” [P. 97]

“…But they knew about the roads of Xibalba: Black Road, White Road, Red Road, Green Road.” [P. 116]

“…None of those who are born in the light, begotten in the light will be yours.” [P. 138]

“Such was the beginning of their disappearance and the denial of their worship.

Their ancient day was not a great one,

these ancient people only wanted conflict,

their ancient names are not really divine,

but fearful is the ancient evil of their faces

They are makers of enemies, users of owls,

They are inciters to wrongs and violence,

they are masters of hidden intentions as well,

they are black and white,

masters of stupidity, masters of perplexity,

as it is said. By putting on appearances they cause dismay.

Such was the loss of their greatness and brilliance. Their domain did not return to greatness. This was accomplished by little Hunahpu and Xnalanque.” [P. 139]

“And here is the beginning of the conception of humans, and the search for the ingredients of the human body. So they spoke, the Bearer, Begetter, the Makers, Modelers named Sovereign Plumed Serpent:

“The dawn has approached, preparations have been made, and morning has come for the provider, nurturer, born in the light, begotten in the light. Morning as come for humankind, for the people of the face of the earth,” they said. It all came together as they went on thinking in the darkness, in the light, as they searched and they sifted, they thought and they wondered.

And here their thoughts came out in clear light. They sought and discovered what was needed for human flesh. It was only a short while before the sun, moon, and stars were to appear above the Makers and Modelers. Split Place, Bitter Water Place is the name: the yellow corn white corn came from there…” [P.145]

“These are the are the names of the first people who were made and modeled.

This is the first person: Jaguar Quitze.

And now the second: Jaguar Night.

And now the third: Not Right Now.

And the fourth: Dark Jaguar.

And these are the names of our first mother-fathers. They were simply made and modeled, it is said; they had no mother and no father. We have named the men themselves. No woman gave birth to them, nor were they begotten by the builder, sculptor, Bearer, Begetter. By sacrifice alone they were made, they were modeled by the Maker, Modeler, Bearer, Begetter, Soverieign Plumed serpent. And when they came to fruition, they came out human:…”[P.146]

“Wait!

thou Maker, thou Modeler,

look at us, listen to us,

don’t let us fall, don’t leave us aside,

thou god in the sky, on the earth,

Heart of Sky, Heart of Earth,

Give us our sign, our word, as long as there is light.

When it comes to the sowing, the dawning,

will it be a greening road, a greening path?

Give us a steady light, a level place,

a good light, a good place,

a good life and beginning.

Give us all of this, thou Hurricane,

Newborn Thunderbolt, Sudden Thunderbolt,

Newborn Nanahuac, Sudden Nananuhac,

Falcon, Hunahpu

Sovereign Plumed Serpent,

Bearer, Begetter,

Xpiyacoc, Xmucane,

Grandmother of Day, Grandmother of Light,

When it comes to the sowing, the dawning,” [P.150]

“And here is the dawning and showing of the Sun, Moon, and Stars. And Jaguar Quintze, Jaguar Night, Not Right Now, and Dark Jaguar were overjoyed when they saw the sun carrier. It came up first. It looked brilliant when it came up, since it was ahead of the sun.”  [P.160]

“After they cried because they had yet to see and yet to witness the birth of the sun.

And when the sun came up, the animals, small and great, were happy, They all came up from the rivers and canyons: they waited on all the mountain peaks. Together they looked toward the place where the sun came out.”

“And then the face of the earth was dried out by the sun. The sun was like a person when he revealed himself. His face was hot, so he dried out the face of the earth. Before the sun came up it was soggy, and the face of the earth was muddy before the sun came up. And when the sun had risen just a short distance he was like a person, and his heat was unbearable. Since he revealed himself only when he was born, it is only a reflection that now remains. As they put it in the ancient text, “The visible sun is not the real one.” [P.161]

“It would get cloudy.

It would get dark and rainy.

It would get muddy, too.

It would get misty and drizzly.” [P. 166]

“And then they advised their sons: “Our dear sons: we are leaving. We are going back. We have enlightened words, enlightened advice to leave with you – and with you who have come from faraway mountains, our dear wives,” they told their wives.” [P. 174]

“Their hearts were filled with a steady light: there was nothing of stupidity and nothing of envy in what they did.” [P.181]

“Each and every lord did service, as a way of cherishing the light of life and cherishing lordship.” [P. 193]

Here in the section of notes and comments, Tedlock elaborates on his translation to give the reader a clearer grasp of what is expressed in the Mayan language:

63 “how things were put in shadow and brought to light: This is ewaxib’al saqirib’al [Zaqiribal], “being-hidden-instrument becoming-light-instrument.” The first word is built on a passive (-x) form of ewaj, which FV glosses as “to hide” but then explains that it has to do with shadows or dark places. The second word is built on an inchoative (-ir) form of saq, “be light,” which is also found in saqirik, “to dawn.” As will be seen, the gods not only bring things to light but can also darken what was once in the light. The two words could also be translated as “the hiding place. The dawning place,” since -b’al can either be instrumental or indicate place. The “hiding place” would be ewab’al siwan or “Concealment Canyon” (see Glossary), where the gods were hidden away before the dawn (p. 158); the “dawning place” would be the place (or places) where the founding ancestors of the ruling Quiché lineages were keeping vigil when the morning star and then the sun rose for the first time (p.160, places which are referred to assaqirib’al [zaquiribal] [P. 215]

63 “as enlightened beings, in enlightened words: “Enlightened” is Tedlock’s translation, for the present context, Zaqil [Zaquil], “lightness” or whiteness. It is underlined previously that the Quiché deities and their words have the properties of light is directly juxtaposed to a mention of God and Christendom. Tedlock notes the deliberate contradiction of the missionary teaching that all indigenous gods were devils.” [P.217-218]

63 “The Light that Came from Beside the Sea”: The epithet for the PV is saq petenaq ch’aqa palo [Zac petenac chaca palo], “light come-from-perfect beside sea.” ,,,

“It takes a long performance and account to complete the lighting of all the sky-earth: Performance” translates peyoxik [peoxic], which Tedlock reads as a passive and nominalized form of peyoj, “to hire” (TC, FV), probably meaning something like “service rendered.” “Lighting” is tzuk’ [tzuk], translanted on the basis of the verb stem tzuk’u-, pertaining in to both ancient and modern Quiché to the placing of a light (such as a candle or torch) in a high place (FX, FV, MX, AG). The only alternative readings of [tzuk] would be tzuk, pertaining to the giving of sustenance, and tz’uk, pertaining to sides, but both of these are written [tzuc] everywhere else in the MS, and the placement of lights does fit the present passage. The next sentence (see the following note) refers to the placement of stakes at the four corners of the world, corresponding to the solstitial rising and setting points of the sun. Moreover, the full account of the origins of the sun, moon, and stars, or “the lighting of all the sky-earth,” will indeed be “long” (as stated here), taking up better than half the book.” [P. 219-220]

64 “in the light that lasts: Here Dennis Tedlock says to have tried to preserve in English the bond that exists between the corresponding words of the text, saqil amaq’el [zaquil amaquil]. These two words are tied by how the vowels rhyme and their consonance, giving them a parallel sound, but they are not correctly parallel in their syntax – in fact, the latter word modifies the former. Saqil is composed of saq, an adjective meaning “light” and “white”, and -il, which makes it into an abstract noun; amaq’el, on the other hand, whether in modern Quiché, is a unitary unanalyzable form (at least where proper morphology is concerned). It means “always,” “all the time,” “continuous,” or “eternal.” In rendering saqil amaq’el as “the light that lasts.” In this Tedlock attempts to be as close as possible the original meaning. [P. 220-221]

64 “a glittereing light: this is saqtetoj [za3tetoh], which DB glosses as “the brightness that enters through the cracks.” The light in question here might be escaping between the feathers with which the Bearers and Begetters are covered, but it could also be a twinkling star. In any case it is down at a level of the water, perhaps on the horizon. Its “glittering” corresponds, in the sensory domain of sight, to the soft and perpetual nature of the primordial sounds. [P. 222]

65 …The woman who give births to birth to a child kuya ri saq, “gives it light”…Here the body is put in the earth, but the deceased “becoming light” or “dawns” (both saqirik) in two different senses: the body itself is reduced to plain white (light-colored) bones, but the spirit becomes a spark of light, something like a star.”

…

65 “But there will be no high days and no bright praise: The paired words are uq’ijilab’al [uquihilabal] and uq’alaib’al [ucalaibal]. The first is literally its-dayness-instrument,” meaning the keeping or setting aside of a specific day on the calendar for ritual purposes; Tedlock translates this as “high days” because the notion of “holidays” has become secularized in English despite the etymology of that word.  The second is “its-brightness” (or manifestness)-instrument” and carries a sense of proclamation. [P. 225-226]

67 “Talk, speak out. Don’t moan, don’t cry out”: Here again (as on p.66) the gods express their desire for articulate human speech, this time contrasted with moans and cries rather than humming and rustling. Not only that, but they want to hear their own names and praises, and they ask the animals to “keep our days.” This las idea is expressed by kojiq’ijila’ [cohiquihila], literally, “to-us-you (plural familiar) day (transitive imperative),” analogous to the form rendered as “high days” on p.65. If English permitted “day” to be a verb, one could translate kojiq’ijila as “dayify us” with the pun on “deify” being appropriate enough. A less direct translation would be “calendrify us.” [P. 230]

69 “Grandmother of Day, Grandmother of light: This is ratit q’ij [quih], ratit saq [zac], “its-grandmother day (or sun), its-grandmother light,” pertaining to both Xpiyacoc and Xmucane despite the fact that the former is described in other context as a grandfather (mama). The name of Andrés Xiloj is mentioned in commenting that a grandmother (or grandfather) of “day” and “light” would be a grandmother “until the end of the world,” that is, for as long as light lasts, and would go back to the beginning of light. In this context, then, “day” and “light” are dyadic and less direct way or referring to what Indo-European languages reduce to the unitary concept of “time.” [P. 231]

73 “Seven Macaw: In this name the term for macaw is kaqix [caquix], combining kaq. “red,” and qi’x, “feather” (MX) and thus fitting the scarlet macaw (Ara macao), which has more red feathers than any other macaw. This identification is confirmed by the statement that Seven Macaw’s nose “shine white” the scarlet macaw being the only one with a white beak. The Yucatec counterpart of Seven Macaw is k’inich k’ak’mo, “Sun-eyed Fire-macaw,” who is like him in having solar pretensions and in being given to self-aggrandizement in general (Roys 1954:42). In the art of Izapa and the Protoclassic and Classic Maya, Seven Macaw has an ancestor in the winged monster iconographers call the Principal Bird Deity (Taube 1987), whose attributes sometimes include those of the king vulture (Sarcoramphus papa) andwho is often shown with a snake in his beak. Just as the scarlet macaw is the showiest of all macaws and parrots, so the king vulture stands out among vultures, with complex red, orange, black, and white wing and tail feathers. Macaw, vulture, and snake all meet in the Cakchiquel xib’ alb’ay kaqix or “underworld macaw” which is “a bird like a vulture that eats snakes” (PG).

73 “I am their sun… their months”: “Sun” is q’ij [quih] here, which could either be “sun” or “day,” but “months” is ik’il [iquil], as contrasted with ik’, “moon.” The PV only mentions this exaggerated claim to an astronomical role, but Seven Macaw’s actual (and lesser) role is indicated by the fact that some present-day speakers of Quiché use his name as a term for the seven stars of the Big Dipper (DL, MA). In West Indian Carib myths the Big Dipper has feathered headdress that shows by day has the rainbow, which suggests that Seven Macaw might also have a rainbow aspect. What the Big Dipper has common with the rainbow is that is the appearance marks the end of storms, only it does so seasonally, fully returning to the night sky at the end of the hurricane season (See the notes p 74.). [P. 237-238]

86 “in the course of the days, in the course of the light”: This is chi b’e q’ij [quih], chi b’e saq [zac],”in-road day (or sun), in-road light.” According to Andrés Xiloj, it means “for all time. Just the way we in my family we are weavers. All the time, and for all time, we are weavers. For an alternative translation of this line and further comment by Xiloj, the expression“as long as there is day”  [P. 248]

95 “Crossroads: This is kijib’ [caib] xalkat b’e, in which xalkat refers to any branching of roads but kajib’ or “four” specifies a four-way intersection. The authors go on to list the four Mayans roads that link the very cosmos together. On the terrestrial plane, red and black correspond to east and west, while white and yellow correspond to east and west, while white and yellow correspond to north and south. At he celestial level, Black Road and Road of Xibalba, or q’eqa [queca] b’e and ri b’e xib’alb’a, are present-day Quiché terms for Great Rift that splits portions of the Milky Way lengthwise. White Road or saqi [saqui] b’e designates the rest of the Milky Way. From the identity of One and Seven Hunahpu (or their rubber ball) as Venus, and from the fact that they go down to Xibalba from a ball court located far in the east, it may be deducted that they descended at the time when Venus was ending its period of visibility as the morning star in a sidereal position near the Great Rift, having begun its crossing of the Milky Way in Scorpius and continuing into Sagittarius.

95 “Morning”: This is q’alaj [calah], literally “clear, bright, plainly visible,” used as a morning greeting in the PV. Today the preferred greeting for the morning is saqirik, “it is getting light (or dawning).” [P. 256-257]

96 “White Dagger: This saqi toq’ [zaqui toc], in which toq’ is “knife” or “stab” (FV) or “lint” (PG). [P. 258]

102 “They have merely made a way for the light to show itself”: “A way … to show itself”is uk’utb’al [ucurbal] rib’, literally “its-showing-instrument.” The immediate reference, as the rest of the sentence makes clear, is to the symbolic survival of the dead through their offspring, “light” being a metaphor for birth. But “light” may also be taken literally here: Blood Moon’s twin sons will account for Venus (in some of its cycles) and, in time, the sun and moon (or at least the full moon). [P. 263-264]

116 “throng birds: These are tz’ikin molay, in which molay may be from mol-, referring to the joining together of what was dispersed (FV); PG gives mo as a “large black hawk.” These birds have been identified as an autumn migrating flock of Swaison’s hawks (Buteo swaisonii) by B. Tedlock (1985:80-83). Their plumage is in its dark phase when they funnel through Guatemala in October or early November, and they form spectacular masses before spreading out into South America. At that time, ears of green corn (aj) like those picked by Hunahpu and Xbalanque are available in the area where the PV was written, but ripe corn (jal) is not. The spring migration of these birds announces the approach of the season’s first thunderstorms.

116 “the roads of Xibalba: This passage makes it sound as though all four roads eventually lead to or through Xibalba, but in an earlier episode “the” Road of Xibalba, and specifically of its lords, is the Black Road. In the list of roads given there the colors are paired by opposite directions: red/black (east/west) and white/yellow (north/south). The present passage drops yellow, adds green, and pairs the colors by their own complementary: black/white, red/green. One and Seven Hunahpu took the Black Road, whereas Hunahpu and Xbalanque send a spy in that direction and later travel a road whose color is not specified. Perhaps it is the Green Road, which was not available to their fathers. In the five-part Mesoamerican directional scheme this would be the middle road, the axis mundi. In the PV, the Green Road is the only one a living human being wants to travel. [P. 272-273]

129 “bringing to light-colored seeds, as plain as day”: This is saqiram k’u ri usaqilal [zaquiram cu ri uzaquilal], literally “becoming-light (or white) then the its-lightness-own.” Saqir- is also “to dawn,” and saqil is the term for squash seeds; in the translation I have added the word “seeds” and the phrase “as plain as day” in order to make these dimensions more obvious to the reader.

Further, Saqir- is a metaphor for the sprouting of plants, but the phrase “bringing to light its

light-colored seeds” turns that metaphor inside out. When the squash bursts and causes

“dawning” of seeds, it is a ”dawning” that comes from the harvested fruit of a plant rather than from the planted seeds. To out it in another way, the seeds burst forth rather than being sown.

This passage probably has astronomical dimensions as well. Keeping in mind that Hunahpu and Xbalanque, in their Venus or ballplayer aspect, cannot stray from the zodiac, we may speculate that the splattered squash seeds correspond to a constellation and that this constellation is closer to being “in bounds” with respect to the zodiac than the ball bags discussed in the notes for p. 128. The Pleiades are within the zodiac, though they would seem to be accounted for by the Four Hundred Boys. But the seeds of the burst squash could be somewhere near the Pleiades (perhaps they are the Hyades), since the Four Hundred Boys may be rabbits (see under their name in the Glossary) and since it is a rabbit who leads the Xibalbans away from the ball court. [P. 278]

141 “You will be prayed to here”: Andrés Xiloj saw this as the beginning of the veneration of the dead. He explained that when there is a death in the patrilineage, the funeral rites are not complete until the mother-father goes to the lineage shrines on a Junajpu day that falls after the actual death. There he prays that the lingering soul of the deceased, with a very low number for a small child and a high one for a very old person who occupied important offices. With or without a recent death Junajpu days are appropriate for visiting the graves of relatives, where prayers are said and offerings are burned in much the same way as at lineage shrines, except that the entire family can go along and make it a day of it, taking along a picnic lunch and strong drink. [P. 286]

141 “the sun belongs to one and the moon to the other: This is jun k’u [cu] q’ij [quih] jun nay pu ik” [ic] chike, “one then sun one also and moon to-them.” It is not stated that they literally became the sun and moon. From the general order of mention of Hunahpu and Xbalanque and the order of mention of the sun and moon in the present passage, it would appear that the sun pertains to Hunahpu and the moon to Xbalanque, at least on the present occasion. That the occasion is unique is indicated by a later passage, it would appear that the sun pertains to Hanahpu and the moon to Xbalanque, at least on the present occasion. That the occasion is unique is indicated by a later passage, where it is stated that although Sun appeared in person on the first dawn, “it is only his reflection that now remains” (p.161) As for Xbalanque, Mayan peoples (including contemporary Quiché) usually put the moon in the keeping of a goddess, but there are examples of male lunar deities in Classic Maya art (Schele and Miller 1986:306, 309, Taube 1992:65-68). The nature of Xbalanque’s lunar role is foretold but the fact that he is face-to-face with Hunahpu when they burn together, this being use q’ij, “sun,” as a figure of speech for the full moon, thus saluting its brightness and roundness, and this may help for the sun (-q’e) in Xbalanque’s Kekchi name  (xb’ alamq’e). The whole picture fits the Aztec description of the first appearance of the present sun and moon, in which the moon rises when the sun sets and they appear similar to each other (Sahagun 1950-69, book 7:8). [P. 287]

142 “they become the sky’s own stars:” Earlier we were told that the Four Hundred Boys correspond specifically to the Pleiades (p. 84). [P. 288]

150 “as long as there is day, as long as there is light”: this is an alternate translation of the line discussed in the notes to p.86 (“in the course of day”). In the present context, Andrés Xiloj commented, “Today one says qab’e qij, qab’e saq [our-road day, our-road light]. This is the time that goes forward; it is the road of time, the number of years one is going to live, or the number of times there will be until the end of the world. [P. 294]

159 “on a bare mountain:” This is saqi [zaqui] juyub’, in which saqi is literally “white” or “clear” and means “treeless” with respect to terrain (see under saq in FV); juyub is mountain.” I take it that the writers mean to contrast the situation of Hacauitz with that of Auilix and Tohil, both of whom seem to be “in a great forest” even though the latter, like Hacauitz, is on a mountain. [P. 302]

159 “They cried their hearts and their guts out: Asked why, Andrés Xiloj said, “They were sad in the darkness, there was no light, no day, no night, all the time it was dark,” The Quiché do not think of night as simply “dark” as opposed to “light” (see “early dawn” in the notes to p.65). The conditions before the first dawn in the PV were so bad that one could not even speak properly of night, with its moon and stars and even a faint trace of dawn, to say nothing of the full light of day. [P. 303]

161 “Tohil, Auilix, Hacauitz were turned to stone, along with the icons of the puma, jaguar, rattlesnake, fer-de-lance, which the White Sparkstriker took with him into the trees: The “icons” here are uk’abwilal [ucabauilal], “its-godliness,”K’ab’awil being translated elsewhere as “god.” The White Sparkstriker is saqi k’oxol [zaqui coxol], composed of saqi, “white”; k’oxo, a verb stem used for the act of striking stones together “to start a fire” (FV); and -l, agentive. This name follows immediately after the fer-de-lance, so that some translators have treated it as part of the list of beings who are turned to stone. However, in terms of what is known about the White Sparkstriker today ( see B. Tedlock 1983; 1986), it makes much more sense to treat the name as the subject of the sentence that follows it, xa xa xuchap chi uk’aj [uca] rib’ pa che’ [che], “just he/she took that to-accompany him/herself into trees Today the White Sparkstriker, who is sexually ambiguous, is the keeper of volcanic concretions and ancient artifacts that resemble animals; these objects, which are said to have been petrified when the sun first rose, are called meb’il (the same as the name of the shrine which they are kept) in Momostenango. [P. 304]

164 “just the larva of the yellow jacket, the larva of the wasp, and the larva of the bee: Andrés Xiloj described these insects, that wanon, sital, and aqaj, as follows: “The wanon is large and striped yellow and black; there is honey in its hive, and it stings. The sital is bigger and has red stripes. Its bite is more serious than that of the wanon; it causes a large swelling and one could even die. It, too, has honey. The aqaj is small, a little bigger than a fly, and stings. It makes a nest, with a thousands of aqaj. If one can get it down with a stick the aqaj stay up there, then one can get whatever pieces of honey there are.” [P. 308]

166 “dark and rainy: This is q’eqal [queqal] jab’, literally “black rain,”  but referring (according to Andrés Xiloj) to a storm that intense that the sky gets very dark. This supports the notion that Tohil is a manifestation of hurricane, who cause a “black rain” when he destroyed the wooden people. [P. 310]

188 “White Earth: This tribal name, which refers to Mam Maya, is saquelewab’ [zaculeuab], “white-earth-pural,” forms by adding a plural suffix to saqulew (Zaculeu ot Saculeu on maps), the principal Mam citadel. Its ruins are five kilometers west of the present town of Huehuetenango. [P. 324]

195 “Black butterfly:  This is tekum, “The large, black butterfly that flies with great speed” (FT.) [P. 333]

Glossary

BLACK BUTTERFLY: Tekum, name of the keeper of the Mat in the ninth generation of Cauec lords. A second black butterfly, who held the same position in the thirteenth generation, was taken hostage when Rotten Cane fell to the Spanish in 1524; he was the son of Three Deer, the Keeper of the Mat who was tortured and executed by Pedro de Alvarado. His accession to his father’s title was later recognized by Alvarado, but eventually he, too, was executed, having been accused of plotting a rebellion. He is not to be confused with the famous warrior named Tecum Umam Quicab, “Black Butterfly Grandaon of Quicab,” who died in the battle with Alvarado’s forces before the attack on Rotten Cane took place. [P. 337]

BLACK ROAD: Q’eqa b’e, one of four cosmic roads. Black is the color of the west on the earthly plane, but the black road of the sky corresponds to the Rift in the Milky Way, which runs northward form the place where the ecliptic crosses the Milky Way in Sagittarius. See also Crossroads and Road of Xibalba. [P. 337]

CROSSROADS: Kajib’ xalkat b’e, a four-way intersection of the roads that link the cosmos together. At the celestial level, this is the place where the ecliptic crosses the Great Rift of the Milky Way near Sagittarius. See also Black Road, Green Road, White Road, Yellow Road, and Road of Xibalba. [P. 340]

GREAT WHITE PECCARY, GREAT WHITE COATI: Saqi nim aq, saqi nima tzi’s, terms referring to the white-lipped peccary (Tayasu pecari), a wild pig, and the coati mundi (Nasua narica), a relative of the racoon; names of a pair of curers, an elderly husband and wife who specialize in problems affecting the teeth, eyes, and bones. [P. 342-343]

LIGHT THAT CAME FROM BESIDE THE SEE, THE: Saq petenaq ch’aqa palo, an epithet for the Popol Vuh, referring to the splendid emblems of lordship the Quiché lords brought back from a pilgrimage to Yucatan. Seel also Naxit. [P. 346]

“OUR PLACE IN THE SHADOWS”: Qamujib’al, an epithet for the Popl Vuh referring to the period before the first sunrise is seen and contrasting with another epithet, “The Dawn Of Life.” The implication of “Shadows” is that the light of dawn and of sunrise were really there (somewhere) all along, but that humans remained in darkness. [P. 352]

SUN-MOON: Q’ijik’ composed of q’ij, “sun,” and ik’, “moon,“ but pronounced as a single word. A term encompassing all heavenly bodies that move across the background of the fixed star. [P. 357]

WHITE CORNMEALS: Saq k’ajib’, a people belonging to a group of thirteen allied tribes the Quichés regarded as having come (like themselves) from the east. They must have settled in the area of the present town of Salcaja, called saqk’aja in Quiché.

WHITE DAGER: Saqi toq’, the sacrificial knife belonging to the lords of Xilbalba and of the ball (containing this knife) they are anxious to use in their game with Hunahpu and Xbalanque.

WHITE EARTHS: Saqulewab’, the Mam Maya, named after their principal citadel, White Earth or saqulew (Zaculeu on maps). The ruins of this citadel are five kilometers  west of the present town of Huehuetenango.

WHITE RIVER: Saqi ya’, a place two kilometers west of Chichicastenango, occupied by vassals of the Quiché lords during the reign of Quicab.

WHITE ROAD: Saqi b’e, one of four cosmic roads. White is the color of north on the earthly plane, but the white road of the sky corresponds to the section of the Milky Way whose width is solid white rather than being split lengthwise by the darkness of the Great Rift. See also Black Road.

WHITE SPARKS STRIKER: Saqi k’oxol, a being who escapes into the shelter of the woods when the sum first rises, taking along the animals that were petrified by the sun. He/she (the sex is ambiguous) has the title role in the present-day dance drama called “Saqi K’oxol” in Quiché and “La Conquista” in Spanish, playing the role of day keeper (or else the dwarf companion of the day keeper) who forecasts the outcome of the Spanish invasion and later escapes into the woods to preserve indigenous customs. Despite the name, he/she has a red mask and is dressed entirely in red, carrying the stone axe he/she used to strike lightning into the bodies of the first day keepers. As a being who appears in woods, caves, and dreams, he/she is the keeper of the petrified animals (volcanic concretions that resemble animals).

WHITE VULTURE: Saq k’uch, the king vulture (Sarcoramphus papa), a lowland species, white except for black flight feather and naked red head and neck.  [P. 360-361]

ZAQUICAZ: Saqiq’as, the snake that swallows the toad that swallows the louse that carries the message of Xmucane. It is a thick, black snake that is said to flee when it sees people, making a noise with its belly. [P. 362]

BOOK OF LAW, DEFINITIONS AND DRESS CODE

In Henry Campbell Black’s Black’s Law Dictionary (First Edition 1891) we find terms such as Black Acre and White Acre which are defined as fictitious names applied to pieces of land and used as examples in the old English books for the purpose of illustration. Black Acts is said to originate from Old Scotch statutes passed in the reigns of the Stuarts and down to the year 1586 or, so called in because printed in Black. Black Book Of The Admiralty is a book of the highest authority in admiralty matters, generally supposed to have been compiled during the reign of Edward III. With additions of a later date. It contains the laws of Oleron, a view of crimes and offenses cognizable in the admiralty, and many other matters.

White Rents is in English law. Rents paid in silver, and called “white rents”, or “reditus albi” to distinguish them from rents payable in corn, labor, provisions, etc., called “black-rent” or black-mail.

Black-Mail 1. In one of its original meanings, this term noted a tribute paid by English dwellers along the Scottish border to influential chieftains in Scotland, as a condition of securing immunity from raids of marauders and border thieves. 2. It also designated rents payable in cattle, grain, work, and the like. Such rents were called “black-mail” (reditus nigri) in distinction from white rents, (blanche firmes). 3. The extortion of money by threats or the destruction of a man’s reputation or social standing.

Whitefriars is a place in London between the Temple and Blackfriars. Which was formerly a sanctuary, and therefore privileged from arrest.

White Bonnet is in Scotch law a fictitious offeror or bidder at a group or auction sale.

Black Cap It is said to be a vulgar error that the head-dress worn by the judge in pronouncing the sentence of death is assumed as an emblem of the sentence. It is part of the judicial full dress and is worn by the judges on occasions of especial state.

[P. 138, 139, 1240.].

Court wig and gown worn by Judge George William Paul, 1874

Nowadays, if we think of a judge, we will have in mind a man with a black robe and a white or grey wig. What is known as the judicial robe or the court robe, the black can be a symbol of authority or in some cases, of mourning. The origin of black as the color of the judicial robe is debated, however, most historians will say that the dress code came from England, specifically at the departure of Queen Mary II in 1694. Nevertheless, it is possible that the dress was worn prior to that date. Ever since it has become a tradition. The fact is that the dress code evolved over seven (7) centuries. The costume of a High Court Judge, which is a lengthy robe, a full hood with a cowl covering the shoulders, and a mantle (or cloak), had been largely seeded during the era of Edward III (1327-1377). A standard dress code was therefore drawn to be part of the royal court.

Black has not been strictly the color of choice for the robes. The material of the robes was given to judges as a grant from the Crown which comprises ermine, taffeta, or silk. The color violet was used in winter and green in summer, while scarlet was used for more formal or special occasions.

We can also see that circa the mid-eighteenth century, the rules of 1635 were bent to give room to the less formal version of the robes. Scarlet robes, black scarves, and scarlet casting-hood also known as tippet or stole have been used for criminal trials, and some judges would wear black silk gowns for civil trials.

As the court system evolved so did the dress codes. It is said that the High Court was created by the Judicature of 1873-1875, comprising the courts of Chancery, Admiralty, Probate, and Matrimonial Causes. Trial judges in these courts were used to wearing plain black silk gowns. We can concur that contemporary judges kept the tradition.

In most cases, we can observe that the dress code was leaning toward black robes. This is the case in 1846 when the County Courts were created. In 1915, Judge Woodfall is said to have suggested robes like the High Court judges, thus more colorful. This was only adopted after the First World War.

In 1937 a full violet hood was used on ceremonial occasions, while the creation of the Crown Court in 1971 prompted the commencement of the scarlet tippet to be worn during criminal trials. So, this was an alternative to the judges. Nowadays you may see judges with the traditional robes, black or else. And in some cases, some just wear suits or casual dresses.

PSYCHOLOGY OF COLOR - BLACK AND WHITE

BIOLOGY AND OPTICS

Now let's observe how the colors Black and White find themselves in our physical realm, specifically through, in, and out our of bodies.

White Blood Cells (Leukocytes): White blood cells are a crucial part of the immune system. They help the body fight off infections and foreign invaders. There are different types of white blood cells, each with specific functions.

Melanocytes and Pigmentation: The color black is often associated with melanin, the pigment responsible for the color of skin, hair, and eyes. Melanocytes are cells that produce melanin and contribute to skin color.

Black and White Matter in the Brain: In neuroscience, the terms "white matter" and "gray matter" are used. White matter consists of nerve fibers (axons) covered in myelin, giving it a whitish appearance. Gray matter consists of nerve cell bodies and is darker in color.

Black and White Cells in Microbiology: In microbiology, black and white may be used to describe the appearance of certain cells or colonies in culture media. For example, some bacteria or fungi may produce pigments that result in black or white colonies.

Johann Wolfgang von Goethe eloquently articulates in his book “Theory of Colors”:

I) THE EFFECTS OF LIGHT AND DARKNESS ON THE EYE.

5. The retina, after being acted upon light or darkness, is found to be in two different states, which are entirely opposed to each other.

6. If we keep the eyes open in a totally dark place, a certain sense of privation is experienced. The organ is abandoned to itself; it retires into itself. That stimulating and grateful contact is wanting by means of which it is connected with the external world, and becomes part of a whole.

7. If We look on a white, strongly illuminated surface, the eye is dazzled, and for a time is incapable of distinguishing objects moderately lighted.

8. The whole of the retina is acted on each of these extreme states, and thus we can only experience one of these effects at a time. In the one case (6) we found the organ in the utmost relaxation and susceptibility; in the other (7) in an overstrained state, and scarcely susceptible at all.

9. If we pass suddenly from the one state to the other, even without supposing these to be the extremes, but only, perhaps, a charge from bright to dusky, the differences is remarkable, and we find that effects last for some time.

…

12. If we pass from a totally dark place to one illuminated by the sun, we are dazzled. In coming from lesser degree of darkness to light that is not dazzling, we perceive all objects clearer and better: hence eyes that have been in a state of repose are in all cases better able to perceive moderately distinct appearances. Prisoners who have been long confined in darkness acquire so great a susceptibility of the retina, that even in dark (probably a darkness very slightly illumined) they can still distinguish objects.

13. In the act which we call seeing, the retina is at one and the same time in different and even opposite states. The greatest brightness, short of dazzling, acts near the greatest darkness. In this state we at once perceive all the intermediate gradations of chiaro-scuro, and all the varieties of hues.

II) EFFECTS OF BLACK AND WHITE OBJECTS ON THE EYE

15. In the same manner as the retina generally is affected by brightness and darkness, so it is affected by single bright or dark objects. If light and dark produce different results on the whole retina, so black and white objects seen at the same time produce the same states together which light and dark occasioned in succession.

16. A dark object appears smaller than a bright one of the same size. Let a white disk be placed on a black ground, and a black disk on a white ground, both being exactly similar in size; let them be seen together at some distance, and we shall pronounce the last to be about a fifth part smaller than the other. If the black circle be made larger by so much, they will appear equal.

17. Thus Tycho de Brahe remarked that the moon in conjunction (the darker state) appears about a fifth part smaller than when in opposition (the bright full state). The first crescent appears to belong to a larger disk than the remaining dark portion, which can sometimes be distinguished a the period of the new moon. Black dresses make people appear smaller than light ones. Lights seen behind an edge make an apparent notch in it. A ruler, behind which the flame of a light just appears, seems to us intended. The rising or setting sun appears to make a notch in the horizon.

The Third Eye - The Pineal Gland

Known as the Third Eye, the All-Seeing Eye, or the Eye of God by the ancients. The Third Eye has a vessel that we call the pineal gland. In occultism, the pineal gland is viewed as being the link between the objective and subjective states of consciousness. In exoteric language, it is the bond between the visible and the invisible worlds. During the fifth week of the developing fetus, the pineal gland emerges as a pouch extending from the front section of the mid-brain, known as the diencephalon. This region surrounds the area around the third ventricle and nearby structures. The far end of this sac becomes the body of the gland. The close end stays as the stalk. The pineal gland is primarily activated by environmental factors, particularly light and darkness. It plays a crucial role in regulating the body's circadian rhythms, especially in response to changes in light exposure. Exposure to bright light, especially in the morning, helps suppress the production of melatonin by the pineal gland, leading to increased wakefulness and alertness. It may help regulate circadian rhythms and support overall pineal gland function. On the other hand, darkness stimulates the production and release of melatonin, promoting sleepiness. The Etymology Dictionary Online defines melatonin as a chemical formed in the pineal gland of mammals that regulates certain physiological activities, 1958, from Greek melas, meaning “black, dark”. The word is the combination of melano and serotonin. Melano meaning “black," from Greek melano-, combining form of melas (genitive melanos) "black, dark, murky," probably from a PIE root *melh-"black, of darkish color" (source also of Sanskrit malinah "dirty, stained, black," Lithuanian mėlynas"blue," Latin mulleus "reddish"). Serotonin is a neurotransmitting chemical, 1948, coined from sero-, combining form of serum + ton(ic) + chemical suffix -in. Thus, melatonin’s secretion is suppressed by sunlight, or because it changes the skin color of certain reptiles and amphibians.

Manly Hall's speaks of the kabbalist who declares that from his study of the Zohar and the relation of the Tree of Sephiroth to the body of men, the first Sephirah – Kether, the Crown – signified the pineal gland; and that the next two sephiroth – Chochma and Binah, one placed on either side of it – were the two lobes of the cerebrum. Several statements appear in the Hebrew Scriptures that may be taken as indirect allusions to the pineal gland.

MUSIC - NOTES ON A PIANO

In music, specifically when it comes to piano, there are two notes: black notes and white notes. The colors are at some point, of arbitrary choice, where the colors are tied to a range of sounds or vibrations. The two colors of the notes might as well be violet and pink. However, in a traditional sense, the black and white notes are of practical purpose, and it’s to create a clear contrast that helps musicians locate specific notes and intervals on the keyboard. It helps in quick and accurate identification, facilitating learning and playing maturation. The black and white keys have been used for centuries and are really at the heart of music education and performance. Thus, the visual appearance of the keys on the piano keyboard.

The piano keyboard consists of a pattern of black and white keys that are disposed in a cyclical pattern of 12 notes. The natural notes are typically symbolized by the white keys, whereas the black keys are identified as either sharps or flats based on their contextual use.

The white notes on a piano keyboard correspond to the seven main letter names in music: A, B, C, D, E, F, and G. These white notes symbolize the basic pitch classes. The black notes, on the other hand, symbolize the sharps or flats of the adjacent white notes.

The black notes are located in groups of two or three between the white notes. The group of two black notes is called a whole step or a whole tone, and the group of three black notes is called a half step or a semitone.

The disposition of black and white notes on the piano keyboard allows musicians to play music in different keys and create various musical scales and chords. The black notes provide alterations to the basic pitch classes, allowing for a greater range of musical expression.

When playing the piano, both the black and white notes are used to create melodies, harmonies, and chords. The combination of these notes forms the foundation of music composition and performance on the piano.

In this instrument the music language is expressed through black and white, however the music itself generates a myriad of colors. Where creativity can be channeled, the two notes are vessels of transmission. Now what lays between the black and white notes can evoke an infinite range of emotions, as to what can be felt and communicated through the combination of sounds and vibrations. The sounds and vibrations emit frequencies that affect in a tangible way, the body, the conscious, and the subconscious.

PHILOSOPHY OF COLOR AND SCIENCE

In this articulation, the focus is between Black/White, Light/Darkness, etc. The relation between the two, the contrast, the opposition, and the complementary aspect. There is a part of it that is lost in translation where the facts are roaming in conflating significations. The fact is that all connotation stays within their own square or circle. All exist within a specific context, rules, and in relation to something else. Though black and white are not considered as colors per se, in terms of art they are certainly part of the color chart, and essential to the canvas to be painted. In the Internet Encyclopedia of Philosophy, we can grasp that a said color calls for its position within a broader spectrum of colors, thus its bond within a color array. It says that it is the betweenness bond colors bear to one another. More so, the betweenness bond captures the essence of color. Wholistically, the meticulous betweenness bond can be modeled in a way for us to grasp the logical structure of the complete color spectrum.

In Realism, we read on the Internet Encyclopedia of Philosophy that objects are colored. However, in science and specifically in physics, we get into a different dimension of perspectives. In modern science, it is known that what is observable in the physical realm are complex structures of more basic components such as the atom, protons, electrons, quarks, etc. Contrary to realism science states that the scientific objects are not colored. However, both views are accepted as being valid.

In non-reductive realism, also known as primitivism, is stated that there is no distinction between what are said to be primary and secondary qualities of objects. Both are different aspects of one and the same object; thus, shape and color are “irreducible” qualities. The irreducible qualities are basic and manifest as they really are. Once more, science always questions our perception of the world where color has a significant role in its conceptualization. It is said that science articulates our observations of color by seeking scientifically notable components, or concepts, that facilitate mathematical modeling. This brings us back to the function of optics and the effect of light vs darkness on objects and their forms. In Reductive Realism, we find a conciliation between scientific and philosophical views giving birth to new forms of reasoning on the topic. There is an effort to give a new narrative for these primary qualities by showing them as complicated physical components. It is to substantiate how color is a combination of complex, microphysical components that describe the surface of objects. In seeking the essence of the components, we look for what causes certain wavelengths to be reflected where it is comparable to the observation of the shape, size, weight, texture, motion, etc. From there, objects can be now said to be colored, where that color now is grasped as really just a complex of physical, primary properties.

We have our Sun’s effervescent fire, which shines brightly to warm and illuminate our lives, just as the myriad of stars whose numbers are close to infinity. We have white dwarfs which signify the transitioning journey of the low and intermediate-mass stars that have exhausted their nuclear fuel. White dwarfs play a significant role in stellar evolution. Their mass is comparable to that of the Sun yet are much smaller in volume. They are extremely dense and compact objects that are mostly composed of electron degenerate matter. Due to their high density, white dwarfs have strong gravitational forces. Giant White dwarfs represent an intermediate stage between regular white dwarfs and more massive objects like neutron stars or black holes. The white dwarfs do not undergo nuclear fusion and do not generate energy on their own. They gradually cool down over time, to become black dwarfs when they no longer emit significant light. This event, we are yet to witness with our young universe. We can also speak on the notion of Black Light which is beyond our visible spectrum of light. It is called Black Light due to the fact that it is not visible to the human eye. It is in other words ultraviolet light (UV). The only way to see the Black Light is through the glowing effect that it has on certain objects and substances. Beyond that, there is the great mystery of our time which is dark matter (27%) and dark energy (68%) which constitute 95% of the universe. On the Center for Astrophysics website, with respect to the topic “All the atoms and light in the universe together make up less than five percent of the total contents of the cosmos. The rest is composed of dark matter and dark energy, which are invisible but dominate the structure and evolution of the universe.” [Center For Astrophysics – Harvard & Smithsonian]. Dark energy is the hypothetical form of energy that is believed to be responsible for the accelerated expansion of the universe. Several theories have been put forward, comprising the existence of a cosmological constant or a new fundamental field that permeates space. However, the true nature of dark energy is beyond the grasp of modern astrophysicists. Dark matter is a form of matter that does not interact with light or other electromagnetic radiation, making it invisible and difficult to detect directly. Its existence is deducted through its gravitational effects on visible matter and the structure of the universe. However, the identity of dark matter particles and their properties are still unknown.

KEYWORDS

Black White Darkness Light

Night Day Obscure Bright

***TO BE UPDATED**

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Book: SYMBOL & MAGIC IN EGYPTIAN ART by Richard H. Wilkinson P. 109-110

Book: THE TREASURES OF DARKNESS – A History of Mesopotamian Religion By Thorkild

Jacobsen – Darkness/Light, Night/Day etc. P.12, 64, 107, 122-123, 138-139, 154, 172-175, 179, 182-183, 203-205, 235.

Book: ENGLISH TRANSLATION OF THE HOLY QUR’AN

Book: THE WAY OF KABBALAH By Z’ev ben Shimon Halevi – Lightening Flash P.34-35

Book: KING JAMES BIBLE

Book: MAHANIRVANA TANTRA Version By Arthur Avalon – Darkness, White. P. 78, 119.

Book: UNE BIBLE NOIRE - Cosmogonie Bantu Collected By Tiarko Fourche and Henri Morlighem

Book: POPOL VUH - The Definitive Edition Version Translated By Dennis Tedlock.

Book: Black’s Law Dictionary 1st Edition Vol. 1 & Vol. 2. By Henry Campbell Black [1891] P.

138, 139, 1240.

Book: THE SYMBOLISM OF COLOUR By Ellen Conroy – White P. 40-45, Black P. 46-49

Book: L’Énergie Secrète De L’Univers By Maxence Layet – La synergie des contraire (Yin Yang) P.22-23

Book: THE PINEAL GLAND: THE EYE OF GOD By Manly Hall – Pineal Gland Light and Darkness P. 1, 7-8.

Book: Theory Of Colours By Johann Wolfgang von Goethe – EFFECT OF LIGHT AND DARKNESS ON THE EYE P.16-18

Jewish Encyclopedia - Color

https://www.jewishencyclopedia.com/articles/4557-color

The Significance Of Red White And Black In Judaism

https://www.chicagojewishnews.com/what-do-red-white-and-black-symbolize-in-judaism/

ONLINE ETYMOLOGY DICTIONARY – Word: Black, White, Light Darkness

https://www.etymonline.com/

Who Is Lord Krishna?

https://www.learnreligions.com/who-is-krishna-1770452

Hindu God Shani Bhagwan (Shani Dev): History and Significance

https://www.learnreligions.com/shani-dev-1770303

Kali: The Dark Mother Goddess in Hinduism

https://www.learnreligions.com/kali-the-dark-mother-1770364

Tag Archives: Mahanirvana Tantra – Kali https://cittavrttinirodhah.wordpress.com/tag/mahanirvana-tantra/

Who is Kali? Indian Goddess of Time, Death, and Change Explained

https://youtu.be/No2w-7-SZqA?si=oujH2KfnasRR5PCk

Encyclopedia Britannica - Kali

https://www.britannica.com/topic/Kali

Color Psychology

www.colorpsychology.org

https://www.colorpsychology.org/black/

https://www.colorpsychology.org/white/

NASA - What Is Dark Energy: https://science.nasa.gov/astrophysics/focus-areas/what-is-dark-energy/

Center For Astrophysics – Harvard & Smithsonian - Dark Energy/Dark Matter

https://www.cfa.harvard.edu/research/topic/dark-energy-and-dark-matter

Internet Encyclopedia Of Philosophy - Color

https://iep.utm.edu/color/

Why Do Judges Wear Black Robes? - Juris Magazine [24 Octobre 2013]

https://sites.law.duq.edu/juris/2013/10/24/why-do-judges-wear-black-robes/

History of Court Dress – Courts and Tribunal Judiciary

https://www.judiciary.uk/about-the-judiciary/history-of-the-judiciary-in-england-and-wales/history/