Aura Reading – Teach Yourself to Read Auras

[Grigori Rho Gharveyn]

Imagine you can see auras.  People, plants, animals and inanimate objects appear to radiate a resplendent light.  As you examine the colors and shapes of this light you begin to hear a voice inside you that guides you to understand the meaning of the colors and how they relate to the subject around which the aura emanates.  Practice this imaginative process and begin to test the results of your perceptions.  At first you may not seem to be getting accurate information, but with dedicated practice your imagination may result in the actual ability to see auras and divine real meaning through your new perceptions.

 

 

Aura Reading – Teach Yourself to Read Auras

 

Auras appear to be artifacts of our interactions with all of the rest of creation to manifest what we need in our world. Auras are a sort of visual key to understanding the negotiation or mediation processes between our conscious, subconscious and unconscious desires and our collective super-consciousness which is our link with creation whereby all our dreams are made manifest.

When we pray, meditate or day dream our auras become more highly charged and we may discover our prayers are answered, our thoughts have transformed into reality, or our dreams have come true.  We often attribute this sort of experience to coincidence but those among us who are familiar with the belief that we create our own reality understand that this is not coincidence; instead, those people know that this is our natural ability to directly manipulate reality, which we are developing on a level of our conscious awareness using our thoughts and feelings to guide ourselves.

There is a real interaction taking place between us and the world around us on a subtle level that may be perceived by developing the talent to see auras.  Everyone has this talent; it is an innate part of who and what we are.  However, developing this talent to a degree where we may consciously perceive and study auras may take a little work.  By imagining we already have the ability to do this we can open the way to actually develop this talent into a useful tool in our lives.  While imagination may be our first step on this journey, our journey will continue beyond the limits of our imagination and may manifest in a very real talent that helps us to perceive the world around ourselves more clearly and to change this world more deliberately.

I find that auras appear as colors that move about and within a subject. With any given subject there appear to be many associated colors, usually there are a few particular colors which appear to be dominant. The colors and their forms and motions often change in response to my thoughts or the thoughts of my subject as I am studying them. The interactions of my thoughts with the colors of my subject’s aura help me to begin to develop an idea of what is going on in my subject's life and what they may need to learn.

Each color or combination of colors seems to have its own theme, as follows:

Red ------------------ Vitality, Energy, the number 1

Red/Orange ------- Physical Activity, Vigor, the number 4

Orange ------------- Organization, Thought, the number 4

Orange/Yellow --- Social Activity, Joy, the number 3

Yellow -------------- Communication, Speech, the number 3

Yellow/Green ----- Healing Activity, Sickness, the number 7

Green --------------- Creativity, Health, the number 6

Green/Blue -------- Nurturing, Caring, the number 6

Blue ----------------- Devotion, Love, the number 2

Blue/Purple ------- Learning, Spirituality, the number 8

Purple -------------- Wisdom, Compassion, the number 9

Purple/Red -------- Potential, Abrupt Change (often accidents or danger), the number 5

Note: The colors form a spiral or circle and return to red at this point.

 

The following are some special exceptions to the colors I most often see in auras.

BROWN ----------- Confusion, Opposition, Conflict, the number 5

CLEAR ------------- An exceptionally spiritual being, spirit guides, the number 9

WHITE ------------- Influence of very spiritual beings, guidance, the number 7

GREY -------------- Influence of a less spiritual being, bureaucracy, the number 8

BLACK ------------- A being indulging in harm to other beings, domination, the number 2

 

Note: The numbers ascribed to each color are loosely associated with their Numerological meanings.  Tarot-logical and Astrological associations may also be ascribed to each color.

 

Typically I have preferred to sketch a portrait of my subject on a roughly textured neutral gray paper with colored pastel pencils. Drawing the underlying form of my subject’s face takes about five minutes to create a light sketch, meanwhile the act of drawing helps to move me into a more meditative, receptive state of mind where the colors begin to become clearer.

If no dominant colors or patterns are apparent then I consider each of the colors in order from red to purple/red in several repetitious cycles until I sense a harmony to particular colors begin to emerge.  (A set of color flash cards or a color wheel can be a useful tool for this purpose.)

Since the colors are moving I must observe them for patterns and intensities and then render a montage of the themes I see so that the most striking or important parts are portrayed.

I talk to my subject as I sketch, making suggestions that return responses in my subject's aura which helps me to unravel the meanings of the colors and what is most likely transpiring in my subject's life that is being displayed in the aura.

Dark or clouded parts of an aura typically represent secrets or information my subject is repressing.  Often these are things my subject is painfully aware of or is trying to deny.

Light, bright or shining parts of an aura indicate well being and balance.

Sparkling parts represent an anticipation of imminent events.

It is possible to see the influences of another person upon my subject as my subject focuses on that person; it may then be apparent what role that other person plays and whether they will help or hinder my subject in particular ways.

Like any psychic practice, the reader must always take into account their own state of being and must be careful not to project details of their own life into the reading given to a subject.

My paper tablet becomes a special window for me.  On one side I contain myself so as not to contaminate what I see through my window.  The life of my subject appears to me through my paper tablet.  The window of my paper tablet assists me in maintaining the focus of my reading upon my subject while inhibiting me from interjecting a reading for myself into the process.

If you are not artistically adept you may still use the paper tablet and colored pencils, instead of striving to produce a likeness of your subject’s physical features dispense with the portrait preamble and instead doodle as you study your subject until the inspiration comes to begin reading their aura.

My personal favorite combination of colors is Green and Purple. These two colors in combination represent Art in the Magick sense and creative activities such as writing or painting in the more mundane aspect. Typically this color combination is accented with Gold or Yellow. This is the property by which the Art or art speaks to us, transforming us.

The potential for Art (Magick) within the act of drawing a portrait is very strong.  The reader may act as a healer and may attempt to downplay a theme that may be associated with pain or suffering while playing up themes of happiness and spiritual advancement. But it is necessary to guide the subject when applying any Art, for the lesson from a pending hardship may be needed by the subject and the lesson must still manifest within their life in some form. Typically this sort of lesson is replayed over and over in a subjects life; so instruction may be drawn from their past, such that they may finally 'get it' and dispense with the need for many further repetitions of a lesson which may become potentially harmful or unpleasant in nature.

The application of Art rarely prevents the next cycle of this repetitious lesson from playing out, but it may ameliorate the next cycle to some great or small degree and the subject may be better able to learn from the next repetition of their lesson if the reader has properly prepared them to perceive and understand their lesson.

To begin your own exploration of auras get some crayons and some rough neutral paper.  The backs of brown paper shopping bags are very good for this.  You can use photographs, objects around your house, pets, plants or people as your subject.  Black and white photographs are particularly good for this sort of exercise.  Place your subject against a neutral background such as an empty white wall.  Study your subject around the edges, if it is a person, pay particular attention to the crown chakra where the energy channel is often strongest.  (You may also try directly observing a subject’s chakras.) 

Personally, I find the edges of a subject’s profile are the best places to begin seeing the interplay of colored light that emanates from within them.  If you feel you see nothing, then imagine what you think you might see if you could see auras.  Take notes with the colored pencils and try to associate your thoughts with the colors as you take notes.  You can do this by just using the color crayon that seems most appropriate to you to write your thoughts with.  You are not required to organize your perceptions in the form of a picture.  Sometimes a thought may have one strong color and several associated colors.  You can loosely overwrite whatever you have written with the same words in a different color when this seems appropriate, or you may find new words emerge as you select a new color in association with something you have already written or drawn.

Just allow this to happen; don’t get too involved in how you do this or what you may want to know about a subject.  Instead, open your heart and mind to every tiniest thought and feeling and follow these wherever they may lead you.

May your colorful pencils dance upon your pad of paper as your heart dances with creation...

 

Enjoy!

Blessed be…

Namaste

 

[28zsuykthvw2l]

Thank you!   I should say that I chose an image of the person that was taken when they were surprised, so er, Grandma didn't normally go round with her mouth open *grin*.   The words "love" and "family" were very strong - possibly to do with the event at the time as it was a special occasion (and the last time we were all together).

 

Thank you for letting me share.

 

Felias

[0s5i6ga6ttcwi]

Some very interesting ideas - I'm going to reread these after kids are in bed to see what I have missed.

 

I would have two observations/questions:

 

I don't  "see" images in my mind. It is more that I sense the emotions connected with the image or hear the words spoken in my head. A different way of experiencing the world. I can feel a person's aura and the health/lack of health and emotions which may be associated with it.

 

Have you found there to be any degree of similarity between auras as you see them and auras seen through kirlian type photography?  Oops - just saw that you answered this question in the previous comments. 

[Grigori Rho Gharveyn]

Hi Maedrona!

For us, this is a process in several parts, the 'feeling' you mention is vital, the mental images we flash trhough helps us define these feelings, often making them much more communicable.

 

We are sorry we do not relate well to kirlian photography techniques, they may be valid, we simply can't correlate them well with our personal experiences.

 

Blessed be...

 

[0s5i6ga6ttcwi]

I wonder if this may be because colours and meanings could be different based upon personal experience. A photograph cannot, by its very nature, take into account the biases and influences of the reader.

 

Will the colour orange always have a specific meaning for all people? Or will one person see an aura as being orange while another sees it as being purple? Based upon personal beliefs and experiences, and even their own personal aura influencing the situation.

[Grigori Rho Gharveyn]

We wonder about this as well Maedrona,

We teach that the association between colors and their interpretations is very personal; we only offer our own views as a guideline.  So long as people find our suggestions functional it may not matter; however, where people may disagree, they should follow their own intuition in these matters.

It may be the case there is a universal key, we believe so; perhaps that key can only seem to appear consistent between people who share very similar cultural contexts or life experiences guiding their perceptions.

What we have selected for our own interpretations is being learned as much by rigorous logical analysis as by intuition.  Alchemy helps teach logical processes to reduce the biases of alchemists to leave a result that is as pure or refined as may be possible for each alchemist.

Possibly the degree to which each person may be a good alchemist may be measured by the degree to which anyone may more easily apply the concepts each alchemist helps to emerge...

We do our best, always, however error may be an inherent part of learning none of us can avoid.

 

Blessed be...

 

[Grigori Rho Gharveyn]

Very nice Felias,

We will have to consider how we would read this; ordinarily the reading comes to us in the process of drawing and selecting colors, so this is quite a different experience.  Because we may see color very differently from each other, we hesitate to suggest to you what the meanings may be to ourselves until you have more time to think about these things yourself. 

Also, auras constantly change, the colors we see are in motion but the motions repeat in cycles that can be translated to frozen moments in time.  At least this was how we drew what we saw.

We imagined each color and recorded it where it repeated regularly, building it up lightly, then more firmly as it repeated more.

Drawing auras is a very subjective, intuitive, and interpretive art.

You have done a great job, however this seemed to work for you is worth pursuiting; each person has their own nature, approach, and style.

We were reading in psychic fairs from 1982 to 1986, in Pennsylvania, New Jersey, and Delaware.

We may have done as many as 200 sketches for clients.  We could only do a few of these per week at most, our hands are somewhat disabled with pain since 1981.  Fortunately, most of our clients prefered Tarot.

Sadly, we have no samples or records of that work.  Frequent homelessness was a problem for several years.

We worked much as you have done, with a light #2 pencil foundation sketch, enough for a recognisable, well proportioned portrait with the neck and shoulder tops.  This was a good way to drop into trance and start filtering throught the client's colors to learn what to look for or expect.

We followed up with pastel pencil colors, the more predominant colors first, using them to reinforce the underlying structure of the drawing and to elaborate the patterns of colors and how they were related.

It was a fun gig, but we got only $5 or $10 per reading.

Anyways, you did a great job, see what more you get out of it, maybe do another one or two as each may have different messages. 

Always think of your grandmother as alive, she is alive, from her point of view; spirit is the reality, not the mundane...

 

Namaste

 

[28zsuykthvw2l]

Why thank you my friend.  I really enjoyed the process and will definitely be trying it again.

Blessings to you.

[Grigori Rho Gharveyn]

Our pleasure always dear sister, blessed be...