comparative blue sources of the BLUENESS of Stars and the formation of blue zones on Earth.And the ancient use of blue color for paints and the Earth as a painting
as well as the theory on the scattering of blue light particles and the water indication levels by way of stones and then the reason our planet Earth has blue water among it's
stars and other fluid spectra of water.
by Henryk Szubinski
The 2 images match together , so there may be some alien function involved in the formation of blue zones form those aliens living on the Pleiades stars .
But what could that be?. And how are they getting here?. Answer will be shown to be the BLUE PARTICLE solid theory.
Those zones other than the usual 5 shown on the BLUE ZONE PAGE are the 1,2,3,4,5,6,78.
And may have some importance as being previous to or after blue zone formations.
Other places that are not listed as BLUE ZONES may have the explanation of how blue zones are made as the example with the painting brush and the variable usage by way of painting that explains how blue is derived as a blue brush stroke.
But what could that be?. And how are they getting here?. Answer will be shown to be the BLUE PARTICLE solid theory.
Those zones other than the usual 5 shown on the BLUE ZONE PAGE are the 1,2,3,4,5,6,78.
And may have some importance as being previous to or after blue zone formations.
Other places that are not listed as BLUE ZONES may have the explanation of how blue zones are made as the example with the painting brush and the variable usage by way of painting that explains how blue is derived as a blue brush stroke.
Example 4) above may indicate the need for artists to apply an edge to the blueness by painting around other zones so that the resulting area of non blue has some meaning. This meaning could be the area of a human body or an animal or aliens with their emphasis on strange head ware that later assists the biological development of blue zone formations. The gap in time would be several million years.
They are shown holding blue painting instruments on the left and a bow and arrow on the right or an ornament that makes it easy to hold on to the brush or pen (early charcoal or blue mineral ).
THE ANCIENT ASTRONAUT THEORY = the special character of the blue paint and it's mineral matter.
They are shown holding blue painting instruments on the left and a bow and arrow on the right or an ornament that makes it easy to hold on to the brush or pen (early charcoal or blue mineral ).
THE ANCIENT ASTRONAUT THEORY = the special character of the blue paint and it's mineral matter.
Aboriginal paintings seen in a different light of blueness whereby the human shape becomes the edge that translates into the coastal lines of blue zones that are closest to the shore where they are found.
Other European cave paintings with the characteristic blue rock may help to define the rock content of minerals that shape the blue zones. The white images of fauna still have a blue tinge to them. So it is possible that these pale images were once very blue in color.
To understand the BLUE ZONES we have to understand their blue colors that have been used throughout the ages and the use of it as a biological color that extends the life span of humans and gives insight into alien ancestors which can be observed on ancient cave art.
Each civilization had some relation with the blue color of blueness ( the minerals that make blue color).
from Wikipdia
date 03,07,2016
time 15:04
Blue is the colour between violet and green on the optical spectrum of visible light. Human eyes perceive blue when observing light with a wavelength between 450 and 495nanometres. Blues with a higher frequency and thus a shorter wavelength gradually look more violet, while those with a lower frequency and a longer wavelength gradually appear more green. Pure blue, in the middle, has a wavelength of 470 nanometres. In painting and traditional colour theory, blue is one of the three primary colours of pigments, along with red and yellow, which can be mixed to form a wide gamut of colours. Red and blue mixed together form violet, blue and yellow together form green. Blue is also a primary colour in the RGB colour model, used to create all the colours on the screen of a television or computer monitor.
some pigment data from http://www.visual-arts-cork.com/artist-paints/colour-pigments.htm
date, 03,07,2016
time 15:01
Azurite
A greenish blue pigment named after the Persian word "lazhward" meaning "blue", it is chemically close to the green colourant malachite. Azurite was known from Ancient times and became extremely popular during the Middle Ages and Renaissance era, as Egyptian Blue declined. Used in oil painting, it performed best as a water-based pigment and was often employed in Tempera paint under an oil glaze. Superceded by Prussian blue in the early 18th century, and rendered obsolete after the synthesisation of Ultramarine and the development of Cobalt Blue
Maya Blue
A highly resilient bright blue to greenish-blue pigment, developed by the Maya and Aztec cultures of pre-colombian art in Mesoamerica. It is a composite of organic and inorganic compounds, notably indigo dye from the Indigofera suffruticosa plants. Originating at the beginning of the 9th century CE, it was in use as late as the 16th century in Mexico, in the paintings of the Indian Juan Gerson. It survived in Cuba until the 19th century.
Cerulean Blue
Named after the Latin word "caeruleum" (meaning sky or heavens) which was used in classical times to describe various blue pigments, Cerulean is a highly stable and lightfast greenish-blue pigment, first developed in 1821 by Hopfner, but not widely available until its reintroduction in 1860 by George Rowney in England, as a paint-pigment for aquarelle watercolour art and oil painting. Although based on cobalt, it lacked the opacity and richness of cobalt blue. Even so, in oil, it maintained its colour better than any other blue and was especially popular with landscape painters for skies.
Ceruse (Obsolete name for Lead White, Flake white, also Nottingham White)
Basic lead carbonate. In use since the prehistoric Greek period, the second oldest artificially produced pigment. It was the only white oil-colour available to artists until the middle of the 19th century.
Egyptian Blue
Also known as Egyptian Blue Frit, this dark blue pigment (calcium copper silicate) is arguably the first ever synthetic pigment, and arose out of the manufacture of dark blue glass by glass-makers in Ancient Egypt. The glass was ground into a deep permanent blue pigment of great visual beauty. It was used throughout antiquity as a blue pigment to colour a variety of differing mediums like stone, wood, plaster, papyrus, and canvas. Despite its relatively weak colouring power, it remained the only dark blue paint colour until the development of Ultramarine four Millennia later. In the 17th century an improvement to the original formula was developed known as Smalt (Alexandria Blue), which was used until the successful synthesis of Ultramarine in the 19th century.
Han Blue, Han Purple
Also known as Chinese purple and Chinese blue, these synthetic barium copper silicate pigments were formulated in China around 250 BCE, and used extensively by Chinese artists from the Western Zhou period (1207-771 BCE) until the end of the Han dynasty (c.220 CE). Pure Han purple - the more popular of the two, as Azurite Blue was also in wide use - is actually a dark blue, similar to electric indigo. It was first used to paint parts of the Terracotta Army Warriors (the huge army of clay figurines found near the tomb of Emperor Qin Shi Huang). Both pigments were used to colour ceramic ware, metalwork, and mural painting.
Indigo
A deep blue colour pigment made from the Indigofera family of plants until 1870, when it was created synthetically. It was used by ancient Egyptian, Greek and Roman painters. The pinkish skies to be seen in English watercolours of the 18th and early 19th centuries were originally greyish-blue, except the Indigo they contained has now faded to leave the ochre element of the original mixture used by the watercolourist. Natural Indigo was superceded in the 19th century by a synthetic colour. See Woad (below).
Lapis Lazuli (Ultramarine)
The source of the fabulous, absolutely permanent and non-toxic natural blue pigment Ultramarine, the precious stone Lapis Lazuli is found in Central Asia, notably Afghanistan. It was employed in Ancient times as a simple ground up mineral (Lapis Lazuli or Lazuline Blue) with weak colour power. Then Persian craftsmen discovered a means of extracting the colouring agent, creating at a stroke a hugely important art material. Ultramarine arrived in Venice on Arab boats, during the Renaissance, and was named the pigment from overseas ("ultra marine"). Such was its brilliance that it rapidly attained a price that only princes and large wealthy religious organizations could afford it. Although strongly associated with Renaissance art, it is still widely used by contemporary painters, especially since prices and supply have improved. Synthetic Ultramarine is chemically identical, although typically appears in a more reddish shade. However its far lower price will no doubt ensure that genuine Ultramarine remains in limited usage.
Mayan blue used in the Mayan civilization and may have had immortal benefits for living .
Each civilization had some relation with the blue color of blueness ( the minerals that make blue color).
from Wikipdia
date 03,07,2016
time 15:04
Blue is the colour between violet and green on the optical spectrum of visible light. Human eyes perceive blue when observing light with a wavelength between 450 and 495nanometres. Blues with a higher frequency and thus a shorter wavelength gradually look more violet, while those with a lower frequency and a longer wavelength gradually appear more green. Pure blue, in the middle, has a wavelength of 470 nanometres. In painting and traditional colour theory, blue is one of the three primary colours of pigments, along with red and yellow, which can be mixed to form a wide gamut of colours. Red and blue mixed together form violet, blue and yellow together form green. Blue is also a primary colour in the RGB colour model, used to create all the colours on the screen of a television or computer monitor.
some pigment data from http://www.visual-arts-cork.com/artist-paints/colour-pigments.htm
date, 03,07,2016
time 15:01
Azurite
A greenish blue pigment named after the Persian word "lazhward" meaning "blue", it is chemically close to the green colourant malachite. Azurite was known from Ancient times and became extremely popular during the Middle Ages and Renaissance era, as Egyptian Blue declined. Used in oil painting, it performed best as a water-based pigment and was often employed in Tempera paint under an oil glaze. Superceded by Prussian blue in the early 18th century, and rendered obsolete after the synthesisation of Ultramarine and the development of Cobalt Blue
Maya Blue
A highly resilient bright blue to greenish-blue pigment, developed by the Maya and Aztec cultures of pre-colombian art in Mesoamerica. It is a composite of organic and inorganic compounds, notably indigo dye from the Indigofera suffruticosa plants. Originating at the beginning of the 9th century CE, it was in use as late as the 16th century in Mexico, in the paintings of the Indian Juan Gerson. It survived in Cuba until the 19th century.
Cerulean Blue
Named after the Latin word "caeruleum" (meaning sky or heavens) which was used in classical times to describe various blue pigments, Cerulean is a highly stable and lightfast greenish-blue pigment, first developed in 1821 by Hopfner, but not widely available until its reintroduction in 1860 by George Rowney in England, as a paint-pigment for aquarelle watercolour art and oil painting. Although based on cobalt, it lacked the opacity and richness of cobalt blue. Even so, in oil, it maintained its colour better than any other blue and was especially popular with landscape painters for skies.
Ceruse (Obsolete name for Lead White, Flake white, also Nottingham White)
Basic lead carbonate. In use since the prehistoric Greek period, the second oldest artificially produced pigment. It was the only white oil-colour available to artists until the middle of the 19th century.
Egyptian Blue
Also known as Egyptian Blue Frit, this dark blue pigment (calcium copper silicate) is arguably the first ever synthetic pigment, and arose out of the manufacture of dark blue glass by glass-makers in Ancient Egypt. The glass was ground into a deep permanent blue pigment of great visual beauty. It was used throughout antiquity as a blue pigment to colour a variety of differing mediums like stone, wood, plaster, papyrus, and canvas. Despite its relatively weak colouring power, it remained the only dark blue paint colour until the development of Ultramarine four Millennia later. In the 17th century an improvement to the original formula was developed known as Smalt (Alexandria Blue), which was used until the successful synthesis of Ultramarine in the 19th century.
Han Blue, Han Purple
Also known as Chinese purple and Chinese blue, these synthetic barium copper silicate pigments were formulated in China around 250 BCE, and used extensively by Chinese artists from the Western Zhou period (1207-771 BCE) until the end of the Han dynasty (c.220 CE). Pure Han purple - the more popular of the two, as Azurite Blue was also in wide use - is actually a dark blue, similar to electric indigo. It was first used to paint parts of the Terracotta Army Warriors (the huge army of clay figurines found near the tomb of Emperor Qin Shi Huang). Both pigments were used to colour ceramic ware, metalwork, and mural painting.
Indigo
A deep blue colour pigment made from the Indigofera family of plants until 1870, when it was created synthetically. It was used by ancient Egyptian, Greek and Roman painters. The pinkish skies to be seen in English watercolours of the 18th and early 19th centuries were originally greyish-blue, except the Indigo they contained has now faded to leave the ochre element of the original mixture used by the watercolourist. Natural Indigo was superceded in the 19th century by a synthetic colour. See Woad (below).
Lapis Lazuli (Ultramarine)
The source of the fabulous, absolutely permanent and non-toxic natural blue pigment Ultramarine, the precious stone Lapis Lazuli is found in Central Asia, notably Afghanistan. It was employed in Ancient times as a simple ground up mineral (Lapis Lazuli or Lazuline Blue) with weak colour power. Then Persian craftsmen discovered a means of extracting the colouring agent, creating at a stroke a hugely important art material. Ultramarine arrived in Venice on Arab boats, during the Renaissance, and was named the pigment from overseas ("ultra marine"). Such was its brilliance that it rapidly attained a price that only princes and large wealthy religious organizations could afford it. Although strongly associated with Renaissance art, it is still widely used by contemporary painters, especially since prices and supply have improved. Synthetic Ultramarine is chemically identical, although typically appears in a more reddish shade. However its far lower price will no doubt ensure that genuine Ultramarine remains in limited usage.
Mayan blue used in the Mayan civilization and may have had immortal benefits for living .
Mayan blue face paint and the ancient reference to protecting ones own blueness as the power of a long life.
Every gem or crystal or stone may have color based simply on the function of water. The types of blueness in each prescious stone may in fact show how water looked like millions to billions of years ago.
The polarization pressure may have been very close to the surface of the oceans at that time so that the pressure was similar to that of the blue star type=B type, by relation to the surface area and the light from the sun being exposed to the space outside it as directly open to the zero gravity around Earth.
The polarization pressure may have been very close to the surface of the oceans at that time so that the pressure was similar to that of the blue star type=B type, by relation to the surface area and the light from the sun being exposed to the space outside it as directly open to the zero gravity around Earth.
Another header design on the way using this illustration shown above.