Chapter 132: The Running Paint of Red

They say that there is a pot of gold at the end of the rainbow. They say that love conquers all; and that, truly, it enables the person, no matter how dire the situation is, to genuinely hope for the best ahead of an uncertain future. It keeps the important premise that even though the world withers and passes away with the passage of time, the colors present in the rainbow is a testament from God that a great flood that could kill thousands will be no more, and that the sky above is a mirror that is reflective of the jubilation to be found from the soul's inner workings. Not death, but genuine faith. It gladly paints the heart in bright color red.

But all the colors to be found in the same space that gives the ultimate representation of the cosmos, and which (also) defines the meaning of all matters present in the physical world, being an important ingredient in characterizing the uniqueness of those created by the same idiomatic power of spoken word, a form of rhetoric that rather builds instead of wielding the forces of destruction; the colors present in creation are the defining features of the many pleasant and splendor thing, a vehicle of beauty as much as it is a representative form of all combination of profound virtues.

Symbols and cryptic messages contained in many art forms also include the prudent usage of colors employed in the most clever way. Colors are ascribed with many attributions of hidden meanings, of silent messages that aims to awaken the soul and rouse the slumbering spirit, of taking into consideration of the feelings that appeal to the shades and intensity of all the possible hues. Simply put, the heart is always shaded with all variations of a red paint because it wants to mirror the impetus of love that drives the expansion of the universe, an appropriate choosing of color for the most talented artist. For blood is red, and blood is responsible for the systematic functioning of the human body; indeed, it is considered to be the major evidence of the existence of life.

How important is the rarest form of portrayal in this complicated world, in whatever dimension that one soul finds himself to be trapped into the physical limitations defined by the scene to be found therein, is also a mystery that everyone must involuntarily face. In whatever abstractions one must peek into the quiet realm of the imagination dictates a necessary mantra: that the colorful stains provided by experiences, good, bad, or vice versa, mandatorily involves the brightest colors of the many grandeurs of the human experience.

After all, the daylight is white, and white is the presence of all colors. The light, representative of all available hues and its diverse combinations, is truly capable of constructing all the possibilities that the imagination can reach, and by default, it is truly limitless.

In as much as the colors reveal themselves in the background of light, the presence of darkness, however, abruptly dim all colors; it is to be defined in the many fine art as the absence of all colors.

But the focus is the ambiance of the color red.

And within this red paint that influences the way souls relate to its surroundings and identify to its duty to the universe (as it gradually develops and expands relative to the vital conditions present), the colors are also the main vessel of the revealed godly virtues, a manifestation of the true essence of creation as it was defined by the solemn account of the Book of Genesis; that everything was made with love, and that any artist who creates an art form from the available materials of beauty herein provided and explained, the said artist becomes a true mirror of God's character, being a creator of goodness through beauty, through every channel, of the many desirable virtues, the excellence of the available medium, of the deepest meaning of life, and the inherent desire to share this glorious form of aesthetic with his neighbor.

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This Chapter is sponsored by Lacoste.