If Filianism had a sacred colour, it would be silver. The colour silver appears in the Filianic Scriptures fourteen times. All but one of these references to silver are found in The Holy Mythos. Below I have included the scripture passages in which silver is mentioned, followed by a brief commentary on each one and its context within Scripture:
For each peal of Her voice became a silver fragment, broken from the whole and yet complete in itself. And She loved each fragment with all the joy of Her being, and Her hands were wisely skilled. (1:1:5)
Silver is a feminine colour that is both intuitive and mysterious, calming and purifying. It is traditionally associated with wisdom, as the hair becomes a silver colour as one ages. Its reflective qualities are of primary interest in connection with Scripture.
And each fragment was filled with Her delight, and therefore was living. And some grew in the deep earth, and were plants and trees; some ran about the ground or flew above it; and those first-made that had no place to be set down became the fishes and creatures of the sea. And everything was silver. And She laughed. (1:1:8)
Everything at the beginning of the Creation was a pure reflection of Dea, and everything lived in harmony with Her and all other things.
And every peal of Her voice became the image of a silver fragment of Her Spirit. (1:1:13)
This passage clearly demonstrates the reflective quality of silver in symbolism. Silver is also used in making mirrors, on which the back surface is coated with silver to produce a reflection of the true image. The reflection is dependent upon the true image, not the other way around.
But there was one that had not been shaped by Her, and that was neither Her daughter nor a creature of spirit. But it was the space between the fragments and the nothingness that had been before things were. It had neither power nor delight, but only weight. It had no shape, but could only coil and uncoil itself about the things that were. It was the snake, and it was not silver but black. (1:2:1)
The Fall of Maid is a tale that I have never quite wrapped my mind around, as it is difficult for me to imagine Dea as an all-encompassing being and yet for there to exist something that does not emanate from Her and is not a part of Her. For that reason, I will not attempt to examine this particular passage except in noting the contrast between the silver nature that is of Dea and the black void that is not of Her. The colour black traditionally carries negative connotations, especially in Western cultures where it is the colour of death and mourning. It should also be of no surprise that black is also associated with rebellion, as is seen by its adoption by various subcultures like punks and bikers.
Further commentary on this Scripture passage by those who are more knowledgeable about it than I may be left in the comments below.
And whereas all things had been silver, now they took on every hue and colour, and the world was beautiful; but it was not so beautiful as it had formerly been. (1:3:2)
While silver is a reflection of Dea, the world after the Fall of Maid is now coloured with many shades and hues. Although still beautiful on a material level, the purity of the reflection and connection with Dea is lost.
“But I shall keep watch in the heavens by night, and there shall be a silver light that there may never be complete darkness. By this I shall govern my movements of the waters, and the earth may never again be flooded; and when you look upon this light, you will remember the time when all things were silver.” (1:3:4-5)
This celestial light is in reference to the moon, which is a symbol of the Daughter. The Lunar Daughter is also an intermediary between maid and the Solar Mother, who is too bright to look upon. As stated by the Encyclopedia Cheoluranya:
The Lunar realm is the realm of imagination and also of mental activity. The word “mind” comes from the same root as “moon”. While the pure Intellect which sees Truth directly is by nature Solar, the reflected Intellectual light which is our earthly reason is lunar (mental or moon-like), as also is our imagination.
The moon’s governance over bodies of water on earth is also mentioned here in speaking of the Great Flood, a legend which has appeared in cultures all over the world.
The second princess held neither so much land nor treasure, but she was a maid of deep wisdom and profound meditation. Her crown was of pure silver; and as she took it from her head, the light of the star fell upon it, and it shone with a loveliness yet lovelier than that of the golden crown. (1:5:25)
The connection between wisdom and silver is made clear here in this verse. Following this verse, the archangel replies to the second princess “It is good that you bring your crown, for you have great wisdom, but the Holy Child is the Daughter of Wisdom Herself.” (1:5:27)
The Maid took up the great moon-axe, whose silver blades were the crescent of the moon, in symbol of Her light, and went alone into a desert place. (1:7:1)
Here again we see the connection between the Daughter, the moon, and the colour silver. In this passage, the moon spoken of in its crescent phase. Whether the crescent moon is in a waxing or waning phase is not specified, although by my understanding of the Madrian tradition, it seems that both waxing and waning crescents were related to the Daughter and were celebrated by offering the Rite of Sacrifice. The great moon-axe mentioned in this verse is later hung above the Daughter’s corpse by the daughters of the dark queen “in symbol of the greatness of the deed.” (1:8:19)
And the Maid gave the silver circlet into her hands and passed through the gate. (1:8:6)
Circlets are headpieces that are similar to tiaras. In this passage, the Daughter gives up the circlet adorning her head to the second gatekeeper during Her descent into the underworld.
And She came to a sixth gate and the gatekeeper said ‘”Give me the silver girdle about your waist and you may pass.” And She unbound Her silver girdle and passed through the gate wearing only Her white robe. (1:8:10)
The silver girdle referenced here is more likely a girdle belt as opposed to the word’s more common definition as lingerie that aids in shaping the torso. After unbinding Her girdle, the Daughter is left only in Her white robe. White is not only a colour of purity, but it is also associated with death, especially in Eastern cultures like Japan where the dead are traditionally dressed in white kimono. This association is made clearer in consideration of the impending Death of the Daughter following Her arrival into the Underworld.
Then in the darkness after the second day, a silver star appeared in the heavens, whose brightness was too great for them to look upon. (1:9:8)
This is an interesting passage, as silver is typically associated with lunar cosmology and the Daughter. Both of these associations link silver to being an intermediary between the maid and Dea, as since the Fall of Maid, she can no longer look upon Dea’s brightness. However, in this verse the silver star is a sign of the Mother who has come to seek Her Daughter and save Her from Death and the Underworld.
And your dearest joy must ring as a silver bell that has a crack; sweetly, but never in perfection. (3:4:12)
This is the only verse outside of the Holy Mythos of the Filianic Scriptures that mentions silver. In this context, the Daughter is speaking to humanity of its own imperfection from the moment that maid turned away from Dea. One can easily see how this verse relates to everyday life, as even the most joyful of occasions and celebrations are marred by imperfection, and even in times of contentment, life often falls short of the expectation of what it should be. The Daughter cautions us from arrogant hubris in the following verse by saying: “Oh, do not say that you are perfect, for then you can not understand the world or your own selves.” (3:4:13)