The seven rays is a concept that has appeared in several religions and esoteric philosophies in both Western culture and in India since at least the sixth century BCE.

In occidental culture, it can be seen in early Western mystery traditions, such as Gnosticism and Mithraism, and in texts and iconic art of the Catholic Church as early as the Byzantine Empire. In India, the concept has been part of Hindu religious philosophy and scripture since at least the Vishnu Purana, dating from the post-Vedic era.

Beginning in the late 19th century, the seven rays appeared in a modified and elaborated form in the teachings of Theosophy, first presented by Helena Blavatsky. The Theosophical concept of the seven rays was further developed in the late 19th and early 20th centuries in the writings of Theosophist Charles Webster Leadbeater, and by other authors such as Alice Bailey, Manly P. Hall, and others — notably including the teachings of Benjamin Creme and his group Share International, as well as the philosophies of organizations such as Temple of the People, "I AM" Activity, The Bridge to Freedom, The Summit Lighthouse, The Temple of The Presence (1995) and various other organizations promulgating Ascended Master Teachings, a group of religious teachings based on Theosophy.

As the New Age movement of the mid-to-late 20th century developed, the seven rays concept appeared as an element of metaphysical healing methods, such as Reiki and other modalities, and in esoteric astrology.

In ancient Greek mythology, Zeus takes the bull form known as Taurus in order to win Europa. Taurus is also associated with Aphrodite and other goddesses, as well as with Pan and Dionysus. The face of Taurus "gleams with seven rays of fire."

The Chaldean Oracles of the 2nd century AD feature the seven rays as purifying agents of Helios, symbolism featured in Mithraic liturgy as well. Later, in the 4th century, Emperor Julian Saturnalia composed a Hymn to the Solemn Sun, and in his Hymn to the Mother of the Gods spoke of "unspeakable mysteries hidden from the crowd such as Julian the Chaldean prophesied concerning the god of the seven rays." In Greek Gnostic magic of the same era, colored gemstones were often used as talismans for medicine or healing; they were often engraved with a symbol borrowed from the Egyptian deity Chnuphis — a hooded serpent or great snake. The snake was shown with a lion's head, from which emanated either twelve or seven rays. The twelve rays represented the zodiac, and the seven rays represented the planets, usually with the seven Greek vowels engraved at the tips of the seven rays. The reverse sides of the talismans were engraved with a snake twisting around a vertical rod. These were known as "Gnostic amulets" and were sometimes also engraved with the names Iao Sabao (the Archon Iao). Gnostic gems with Abraxas also featured the seven rays.

In early Christian iconography, the dove of the Holy Ghost is often shown with an emanation of seven rays, as is the image of the Madonna, often in conjunction with a dove or doves. The Monastery of St. Catherine on Mount Sinai, circa 565, shows the Transfiguration of Christ in the apse mosaic, with "seven rays of light shining from the luminous body of Christ over the apostles Peter, James and John." In the present-day Byzantine-style St. Louis Cathedral in Missouri, the center of the sanctuary has an engraved circle with many symbols of the Holy Trinity. The inscription reads: "Radiating from this symbol are seven rays of light representing the seven gifts of the Holy Ghost."

During the 12th century, Saint Norbert of Xanten, founder of the Order of Canons Regular of Prémontré, discovered the spot where the relics of Saint Ursula and her companions of Saint Gereon and of other martyrs lay hidden while in a dream. In the dream that led him to this location, he was guided by "the seven rays of light ... surrounding the head of the crucified Redeemer."