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Journal articles on the topic 'Color Symbolism'
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Rahayu, Kristina Indah Setyo. "A Comparison on Hyponymy and Cultural Symbolism of Six Color Words between Chinese Language and Bahasa Indonesia." Lingua Cultura 8, no. 2 (November 28, 2014): 61. http://dx.doi.org/10.21512/lc.v8i2.444.
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Color words originate from natural world. In general different languages have similar patterns of color hypernymy. Nevertheless, when it comes to color hyponymy, it is not the case. Specific color hyponyms have emerged because different countries have different cultures. Besides, color words are also rich in cultural symbolism. In other words, same colors in different countries have different cultural symbolisms. This paper analyzed six color words (red, white, yellow, blue, green, and black) between Chinese language and bahasa Indonesia to find similarities and differences both in hyponymy and in culture symbolism.
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Caspari, Elizabeth. "Color symbolism." Arts in Psychotherapy 12, no. 3 (December 1985): 206–8. http://dx.doi.org/10.1016/0197-4556(85)90022-x.
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JOHANSSON, NIKLAS, ANDREY ANIKIN, and NIKOLAY ASEYEV. "Color sound symbolism in natural languages." Language and Cognition 12, no. 1 (October 18, 2019): 56–83. http://dx.doi.org/10.1017/langcog.2019.35.
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abstractThis paper investigates the underlying cognitive processes of sound–color associations by connecting perceptual evidence from research on cross-modal correspondences to sound symbolic patterns in the words for colors in natural languages. Building upon earlier perceptual experiments, we hypothesized that sonorous and bright phonemes would be over-represented in the words for bright and saturated colors. This hypothesis was tested on eleven color words and related concepts (red–green, yellow–blue, black–white, gray, night–day, dark–light) from 245 language families. Textual data was transcribed into the International Phonetic Alphabet (IPA), and each phoneme was described acoustically using high-quality IPA recordings. These acoustic measurements were then correlated with the luminance and saturation of each color obtained from cross-linguistic color-naming data in the World Color Survey. As expected, vowels with high brightness and sonority ratings were over-represented in the words for colors with high luminance, while sonorous consonants were more common in the words for saturated colors. We discuss these results in relation to lexicalization patterns and the links between iconicity and perceptual cross-modal associations.
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Al Ghusaini, Zaher Badr. "Symbols of Color Code in the Poetry of Federico Lorca (1898-1936)." Journal of Arts and Social Sciences [JASS] 3, no. 1 (January 1, 2012): 121. http://dx.doi.org/10.24200/jass.vol3iss1pp121-133.
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The current study addresses color symbolism in the poetry of Federico Garcia Lorca, a 20th century poet. He lived in the period between 1898 and 1936 in which Spain, and particularly Granada, had a significant impact on his poetry. It lived in his verses and added a unique charisma to his poetry, emerging from its ongoing transformation from tangible visualization to artistic glances. The mention of color appeared in every poem, with some colors being more dominant than others. It added an artistic value with a pure psychological perspective, almost like a painting portraying Granada. This led critic and Spanish civilization researcher Luis Parrot to call him “a poet enchanted by colors” in his study of Lorca’s poetry, as he found him totally possessed by colors (Telisy, 1992). This addresses color symbolism that is prominent in Lorca’s poetry. Has this symbolism reflected Lorca’s character that it appeared in an unorthodox manner? Or was this symbolism traditional in its form and meaning? The study concluded that Lorca did not describe color by color, color by name, or name by color. Rather, his poetry took many forms and tastes, giving it a certain uniqueness and individuality to Lorca. Analysing Lorca’s poetry reveals its richness in color expressions. It also shows how Lorca’s awareness of color exemplified his suffering explicitly and implicitly, to maintain a certain level in his poetry on one hand, and to avoid being overt on the other
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Boyarkina, Anastasiya Andreevna, Larisa Georgievna Popova, and Irina Viktorovna Shvedova. "Symbolism of the blue/light blue color in the English and German publicistic texts." Litera, no. 10 (October 2021): 61–72. http://dx.doi.org/10.25136/2409-8698.2021.10.36202.
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This article aims to determine similarities and differences in manifestation of symbolism of the blue/light blue color in the English and German publicistic texts. The subject of this research is the semantics of English and German lexemes representing the blue/light blue color in both languages. The symbolism of this color designation is selected due to its insufficient coverage in comparative linguistics. Based on the material of lexicographic sources, the author describes the dictionary meanings of the aforementioned lexemes, which resemble symbolism of the blue color in the English and German publicistic texts. The scientific novelty lies in the establishment of similarities and differences of symbolism of the blue/light blue color on the example of the English and German publicistic texts, highlighting that in the English texts, the lexemes that denote these colors are used more often than in the German texts (English word ‘blue’; German word ‘blau’). The conducted analysis reveals that in the English publicistic texts, symbolism of the blue/light blue color is applied in creation of precedent names, as well as nominations of affiliation to a particular party, nobility, symbol of nobleness, purity, or despondency, suppression of wrongdoing. In the German publicistic texts, this color designated affiliation to the political party, or authorization document for foreign employees. Comparison of the content of lexemes ‘blue’ and ‘blau’ in the English and German texts reveals more similarities. However, in the English publicistic texts, this lexeme denotes the symbolism of sadness, despondency, or noble descent.
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Ro’ziyeva, Mohichehra Yoqubovna. "COLOR SYMBOLISM IN UZBEK FOLKLORE." Theoretical & Applied Science 85, no. 05 (May 30, 2020): 277–84. http://dx.doi.org/10.15863/tas.2020.05.85.55.
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Gagulashvili, I. Sh. "Color Symbolism in Georgian Charms." Soviet Anthropology and Archeology 26, no. 1 (July 1987): 55–70. http://dx.doi.org/10.2753/aae1061-1959260155.
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Pavlova, Irina. "The Color Symbolism in the Works of Saltykov-Shchedrin." Scientific and analytical journal Burganov House. The space of culture 16, no. 2 (June 10, 2020): 91–99. http://dx.doi.org/10.36340/2071-6818-2020-16-2-91-99.
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The article is devoted to the symbolism of color in the works of Saltykov-Shchedrin. Color is a fundamental phenomenon of existence; various sciences, including literary criticism, study it. It is connected with the ideological conception of the work, with art space; it bears a visual function, emotionally colors the world depicted by a writer, enriches, makes it more complex. Saltykov-Shchedrin’s use of color is connected with the satirist’s talent to see the reality in the "concentration of evil". In the works of the writer, Russia appears to be ambivalent: it is a field of the rampage of the elements, energies, and the realm of deadness, of slumber, which is presented in the writer's palette by two achromatic colors. White and gray are distinguished by special semantic saturation. In Saltykov-Shchedrin’s works, their symbolism is seen in a negative aspect: white represents coldness, despair, insipidity; gray – poverty, sadness, rough weather. In the descriptions of the environment, these colors are accompanied by images of snow, rain, fog, which in turn are connected with the motifs of death, doom, and emptiness of life. Many of the satirist’s works starting from his early stories, Contradictions, Brusin, are emotionally charged in such a way. White and gray colors define the peculiarity of the artistic space of many works of Saltykov-Shchedrin. In the epilogue of the series Provincial Sketches, the ground appears covered with a white shroud. The tragedy of this image is compounded in the cycle of Well-Intentioned Speeches. Snow as a white shroud is the writer’s constant metaphor. Almost always when describing Russian expanses, monotonous, dull colors dominate in the works of the satirist. White color expands the space to the infinity overwhelming a man; gray increases the feeling of hopelessness. Saltykov-Shchedrin’s landscape correlates with the unclear fate of Russia, with mournful events in the national history, a fading aristocratic landlord class. These colors are associated with moral issues in the novel-chronicle The Golovlyov Family. In the tale Night of Christ, white and gray serve as the concentration of world evil. However, gray does not have only negative energy – the «gray tones» of the Motherland cause the writer to feel «love to the pain in the heart». Golden color in the idiomatic expression «Golden age», an age of harmony and prosperity, used by the socialists-utopians, to whose ideals Saltykov-Shchedrin always remained true, stand as the antagonist of white and gray. Color is one of the mental units forming the concept sphere of Saltykov-Shchedrin’s creative work; it reflects the diversity of the author's thinking, the philosophy of the artist-satirist, the worldview of a particular age, and the national picture of the world.
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Hovers, Erella, Shimon Ilani, Ofer Bar‐Yosef, and Bernard Vandermeersch. "An Early Case of Color Symbolism." Current Anthropology 44, no. 4 (August 2003): 491–522. http://dx.doi.org/10.1086/375869.
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Bychkov, Victor. "Metaphysics of a landscape in symbolism." Культура и искусство, no. 4 (April 2020): 53–70. http://dx.doi.org/10.7256/2454-0625.2020.4.31966.
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This research is dedicated to examination of a specific role of landscape in symbolism. Based on comprehensive analysis of the works of symbolists and artists of their circle – Segantini, Böcklin, Gauguin, Nesterov, Čiurlionis, the author attempts to determine the characteristic features of using the images of nature in the overall system of pictorial artistic-aesthetic expression. Special attention is paid to the problem of inscription of human figures into landscape, as in doing so many symbolists and artists of their circle were bringing the landscape to life, forming a special creative space. Landscape of symbolists is viewed as a peculiar animated space that carries a mediating role between the visually palpable images and indescribable pleroma of metaphysical being. Such approach to symbolism is considered innovative. In the course of this research, it is demonstrated that special artistic space as a carrier of symbolic meanings or a spirit of symbolism in painting emerges in each painters a set of artistic means of expression characteristic only to their works. At the same time, some symbolists view the unreachable in external forms of visible nature by focusing attention of the opposition of earth and sky, life and death, human and divine beginning, reality and its mythological grounds. Some symbolists create the world of practically abstract and musically accented color forms and graphic solutions. While others paint landscape imbued with tranquility, tenderness and picturesque hymns of the Creator. In general, symbolic landscape leans towards a fairly vivid philosophical aspect.
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Rufova, Elena, and Sardana Makarova. "Symbolic of black in the Yakut and Japanese poetry (through the example of poems by Ivan Gogolev and Takamurа Kotaro)." SHS Web of Conferences 134 (2022): 00056. http://dx.doi.org/10.1051/shsconf/202213400056.
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This paper is devoted to the issue of color symbolism in poetic text. The relevance of this study is in the fact that the specificity of the linguistic worldview of the people speaking this language is revealed through color epithets in a literary text. The purpose of the study is to identify the symbolism of black color in the poems of Ivan Gogolev and Takamura Kotaro, which will reveal the features of the traditional color symbols of the Yakuts and Japanese. The authors use a systemic, holistic, functional approaches in the study of a work of art, historical-literary and comparative-comparative research methods. The scientific novelty of the research is in the fact that the poetry of Ivan Gogolev and Takamura Kotaro was first considered in terms of the identification of the specific characteristics of color symbolism in works of art. As a result, the authors state that the black color in the culture of Sakha and the Japanese traditionally carries different semantic meanings, denoting practically opposite meanings: "хара" (black) – "lower", "difficult", "bad / evil"; "Kuroi" (black) – "solemn", "wise". With all the differences, it can be noted that in these cultural traditions, a subtle perception of color symbolism is preserved, which is often expressed in numerous shades and half shades. Moreover, the main lexical expression of the color epithet "black" is expressed by a single adjective in both Yakut and Japanese.
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Філіпенко, Ольга. "SYMBOLISM OF COLOR IN PROSE DOKIA HUMENNA." Problems of Contemporary Literary Studies, no. 24 (December 12, 2017): 205–14. http://dx.doi.org/10.18524/2312-6809.2017.24.127998.
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Barris, Michael C. "Color and Meaning: Art, Science, and Symbolism." Optometry and Vision Science 77, no. 1 (January 2000): 10. http://dx.doi.org/10.1097/00006324-200001000-00007.
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Willard, Christopher. "Color and meaning: Art, science, and symbolism." Color Research & Application 25, no. 5 (2000): 382–84. http://dx.doi.org/10.1002/1520-6378(200010)25:5<382::aid-col12>3.0.co;2-s.
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Rodriguez Velasco, Maria. "Color Symbolism in the Castilian Atlantic Bibles: Initials and Scenes from the Bible of Avila (BNM, Vit. 15-1)." Multidisciplinary Journal of School Education 9, (2) 18 (December 31, 2020): 169–89. http://dx.doi.org/10.35765/mjse.2020.0918.09.
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The Atlantic Bibles of the Umbro-Roman school are associated with the needs of the Gregorian Reform, which began at the end of the 11th century. Their first impression is one of great ornamental sobriety, in accordance with the early stages of what Garrison and Berg have labelled the “geometric style.” This was first manifested in the decoration we find concentrated in the initials heading the individual books of the Bible. In Castile, one outstanding example is the Bible of Avila, begun by the Umbro-Roman school and finished in a Castilian scriptorium. This double perspective can be observed in a similarly double palette of color: Italian and Spanish.
It is especially in this second phase when a reduction to the minimum of polychromy leads us to think that color has here a symbolic use. Red and blue, having had symbolic connotations since the birth of Christian iconography, are the principal colors of the scenes illustrated in the Bible of Avila, with the addition of green and yellow, which are also rich with symbolism. This possible symbolism of color may work to reinforce the conceptual nature of these miniatures, in direct relation to the text they decorate and to the liturgy they accompany. The Bible in the Middle Ages, in the context of monastic schools, was the most important manuscript for teaching and learning. Its miniatures and the symbolism of its colors contribute to the transmission of meanings.
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Verma, Rashmi. "SOCIAL SIGNIFICANCE OF COLOR." International Journal of Research -GRANTHAALAYAH 2, no. 3SE (December 31, 2014): 1–2. http://dx.doi.org/10.29121/granthaalayah.v2.i3se.2014.3685.
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India has always been exalted and remembered fondly as country of symbolic colors. To an outsider, its colorful culture, streets, and stories seem like a page out of an ancient folk tale. But color, in essence, has been a large part of the Indian consciousness. From the deep orange marigold flowers that bejewel almost every celebration to the deep hues of red that deck up the bride on her most important day, colour of India has, over time, become synonymous with religion- an expression of faith and beliefs. In a country where a deep understanding of prevalent diversity is perhaps the only common thread that ties its people together, India is a magical experience that ought not to be missed.in a country as diverse and culturally vibrant as India, it is perhaps the common, lifestyles, and tradition. The symbolism of color stand out and control every aspects of life in India , be it religion, politics, festivals, or celebration .in India, be it north , south, west, or east, color and culture go hand in hand . Just like many other culture across the world, there are some typical classification of color to be found in India.
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Kuhareva, E. V. "THE SYMBOLISM OF COLORS IN THE ETHNIC PICTURE OF THE WORLD OF THE ARABS." Title in english 17, no. 1 (March 31, 2019): 97–107. http://dx.doi.org/10.24833/2410-2423-2019-1-17-97-107.
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Te article studies symbolic meanings of colors in the Arab on the material of Arabic sacred, literary texts, dictionary editions, and folklore. Tere is considered the place of each element of the color palette in the Arab ethnic picture of the world, which expresses moral and ethical values and worldview of the Arab ethnic group, and the importance and influence of colors on the Arab mentality. Te analysis reveals the similarities and differences in the perception of colors and their symbolic meanings in the Arab and Russian languages. Arabs’ perception of a particular color is based on their fgurative system, in which all the phenomena of the surrounding world appear not in the form of philosophical abstract generalizations, but as a realistic perception of the surrounding reality. Symbolism of their perception is revealed in their practical life, the basis on which national consciousness and national mentality is formed. Color symbolism depends on the place and conditions in which an ethnic group lives. A national picture of the world, however, is not only and not so much a reflection of these conditions, it is a reflection of their moral, ethical and aesthetic conceptualization, fxed in various linguistic forms and transmitted from generation to generation as a moral code allowing people to preserve their national identity.
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Liu, Lu, and Mikhail Anatolyevich Rybakov. "Color symbolism in Russian and Chinese languages and semantics of hydronyms with a color component." Litera, no. 6 (June 2020): 44–55. http://dx.doi.org/10.25136/2409-8698.2020.6.33075.
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The goal of this article is the characteristics of color symbolism as the means for creating imagery in a discursive aspect. In the course of this research, the following questions were addressed: 1) generalization of the semantics of color designation in the linguistic context; 2) characterization of linguistic specificity of color designations in the Chinese language, and comparison with the Russian language; 3) determination of intralinguistic and extralinguistic factors impacting the functionality of color designations in media discourse; 4) systematization of means and specificity of creation of imagery in the TV series “Story of Yanxi Palace” using the color designations; 5) characterization of metaphorical potential of Chinese words for color designation in the context of TV series “Story of Yanxi Palace”. The key color designations in the Russian language are white, black, red, blue, yellow, and green. It also suits the Chinese language. The meaning of color is closely related to people’s psychology and national culture. Although the Russians and Chinese have common understanding of the true nature of color, due to the differences in cultural traditions, customs, geographical conditions, traditional national and cultural way of thinking, prevailing religious ideas and language expressions, color designations have different symbolic meanings. Having studied the words that express “color”, the author determined that each culture has its own comprehension and interpretation of various colors, particularly, based on the example of geographical names.
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Zhuravliova, Elizabeth V. "The symbolism of color in modern Spanish language." Cuadernos Iberoamericanos, no. 3 (September 28, 2018): 35–38. http://dx.doi.org/10.46272/2409-3416-2018-3-35-38.
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Topchyi, O. Yu. "NATIONAL SPECIFICATION OF SYMBOLISM OF COLOR NOMINATION BLUE." Scientific notes of Taurida National V.I. Vernadsky University, series Philology. Social Communications 3, no. 1 (2020): 64–69. http://dx.doi.org/10.32838/2663-6069/2020.1-3/11.
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Kapran, V. I., and O. V. Kapran. "Psychological symbolism of color and projection of cloth." Alma mater. Vestnik Vysshey Shkoly, no. 10 (October 2016): 108–11. http://dx.doi.org/10.20339/am.10-16.108.
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Дорогайкина, Е. M. "SYMBOLISM OF COLOR IN THE MIDDLE AGE ZOONOMINATIONS." НАУЧНЫЙ ЖУРНАЛ СОВРЕМЕННЫЕ ЛИНГВИСТИЧЕСКИЕ И МЕТОДИКО-ДИДАКТИЧЕСКИЕ ИССЛЕДОВАНИЯ, no. 1(53) (March 15, 2022): 42–53. http://dx.doi.org/10.36622/vstu.2022.57.60.003.
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Постановка задачи. В статье ставится задача описать совокупность языковых форм, способов и функций цветообозначений, выраженных зоонимами, чтобы получить о них целостное представление в виде системы образов, определяющих жанрово-типологические характеристики старофранцузского текста. Рассматриваются два разных жанра средневекового периода: животный эпос - крупный литературный жанр, наиболее репрезентативный с точки зрения презентации зоонимов, и старофранцузские фаблио - небольшие рассказы, являющиеся представителем жанров малых литературных форм. Результаты. Рассмотрены грамматические, лексические и символические значения в системе зоономинаций-цветообозначений, их функционирование в художественном тексте указанных жанров. На основе методики лексико-грамматического анализа, релевантной для диахронических исследований, выявляются структурные модели номинаций, выраженных знаменательными частями речи. Определены способы языкового оформления, используемые в тексте каждого из анализируемых жанров. Выявлено лексическое значение зоономинаций-цветообозначений и их грамматическая структура. Проанализированы символические значения цветообозначений, выраженных зоонимами, которые рассматриваются как свидетельство экстралингвистической стороны в зооморфной репрезентации средневекового общества. Выводы. В качестве структурной формы в репрезентации цветообозначений, выраженных зоонимами в жанрах животного эпоса и фаблио, представлены однословные, двухсловные и многословные зоонимы, со стороны значения, это прямые и косвенные номинации. Посредством анализа цветовых номинаций в диахроническом художественном тексте изучаются аксиологические единицы и концепты, входящие в представление об образах персонажей животных, как аллегорий человеческой личности. Символические значения цветообозначений, связываемые с животными в разных литературных традициях, образуют единый и устойчивый комплекс мифологизированных значений. Problem statement. In the article bases on the material of diachronic texts of the medieval period. We analyze nominations from a lexico-grammatical point of view and from the point of view of symbolic meaning, color meanings expressed by nominations, where the object is zoonymic vocabulary. We consider two different genres of the medieval period: the animal epic, the most representative genre from the point of view of the representation of zoonyms, and Old French fablios - short stories that represent genres of small literary forms. Results. The article describes grammatical, lexical and symbolic meanings in the system of zoonominations with color designations, their functioning in the literary text of these genres. Basing on the methodology of lexical and grammatical analysis relevant for diachronic studies, we identify structural models of nominations expressed by significant parts of speech. The methods of linguistic design, mainly used in the text of each of the analyzed genres, are determined. The study reveals the lexical meaning of zoonominations-color meanings and their grammatical structure. It analyses the symbolic meanings of color nominations expressed by zoonyms, which are considered as evidence of the social side in the zoomorphic representation of medieval society. Conclusion. The study shows one-word and two-word zoonyms, direct and indirect nominations as a structural form in the representation of color meanings expressed by zoonyms in the genres of animal epic and old French fablio. We consider that through the analysis of color nominations in the diachronic artistic text we can see moral and axiological units and concepts included in the idea of the images of animal characters as allegories of the human personality. Symbolic meanings of color meanings associated with animals in different literary traditions form a single and stable complex of mythologized meanings. The color characteristics of animals become symbolic.
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Харитонова, А. С., and К. Е. Илауски. "Symbolism and semantics of the Ob Ugrians festive costume." Iskusstvo Evrazii [The Art of Eurasia], no. 4(23) (December 29, 2021): 26–31. http://dx.doi.org/10.46748/arteuras.2021.04.002.
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Статья посвящена исследованию символики и семантики праздничного костюма обских угров (народности ханты и манси). Использованы описательный и компаративный методы. Отмечается, что цветовой «словарь» данных народностей максимально конкретен и основан на непосредственном восприятии, поэтому «образы» цветов реалистичны и мифологичны одновременно. Соответственно, каждый цвет несет особую смысловую нагрузку, что детально рассмотрено на примере коллекции вышитой праздничной одежды остяков (ханты) «Узоры Конды». Показано, что костюм можно воспринимать как текст, прочитав который можно понять смысл его цветовой, орнаментальной, архитектурной текстуры. Резюмировано, что праздничный костюм обских угров — не только самобытное явление художественной традиции Западной Сибири, но и итог многовековой коммуникации между соседними народами. The article is devoted to the study of the symbolism and semantics of the festive costume of the Ob Ugrians (the Khanty and Mansi peoples). Descriptive and comparative methods were used. It is noted that the color "vocabulary" of these ethnic groups is as specific as possible and based on direct perception, therefore, the "images" of colors are realistic and mythological at the same time. Accordingly, each color carries a special semantic load, which is examined in detail on the example of the collection of embroidered festive clothes of the Ostyaks (Khanty) "Kondy Patterns". It is shown that the costume can be perceived as a text, after reading which one can understand the meaning of its color, ornamental, architectural texture. It is summarized that the festive costume of the Ob Ugrians is not only an original phenomenon in the artistic tradition of Western Siberia, but also the result of centuries-old communication between neighboring peoples.
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Prokhorenkova, Svetlana. "Color Symbolism in Literary and Philosophical Works by Existentialists." Bulletin of Baikal State University 29, no. 2 (June 27, 2019): 193–97. http://dx.doi.org/10.17150/2500-2759.2019.29(2).193-197.
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Studies of color symbolism of existentialism and expressionism are of relevant importance in several branches of knowledge: in philosophy, literature, dramaturgy, ethics and aesthetics. The phenomenon of color perception is also essential in the figurative and music arts. Thus, the main focus of this article, dedicated to the literary and philosophical works by Albert Camus, Jean-Paul Sartre and Franz Kafka, is on interpretation of light and color perception.
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Pohsun, Wang, and Zhou Junling. "The Color Expressions in the Traditional Costumes of Taiwanese Indigenous Peoples." South Florida Journal of Development 2, no. 5 (November 17, 2021): 7539–49. http://dx.doi.org/10.46932/sfjdv2n5-089.
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With respect to both fiber and color the clothing material of Taiwan’s indigenous people came predominantly from nature. Atayal woven materials are a distinct example of how ethnic symbolism can be expressed through the combining of color and fabric patterns in weaving and dying. In order to understand Atayal fabric color use and distribution, this research first utilizes PANTONE FASHION + HOME cotton planner to contrast fabric color, and after comparison, color specimens are input one at a time into Color Schemer Studio’s color wheel statistics system. In order to analyze Atayal fabric colors, this study particularly performs color scope analysis on sub-groups for which research specimens are relatively abundant, such as the Tayal’s Beishi group and Nanao Group; and the Sediq’s Wushe Group, Wanda Group, and Taroko Group. Beishi group fabrics use a comparatively wide range of color and a more diverse number of combinations. The main colors they use include white, red, orange, yellow, green, blue, and other colors. The colors used by the Wushe Group and Wanda Group in their fabrics include white, red, blue and others. While the number of specimens collected for this study is limited, it is possible to understand, what the color preferences of sub-tribes are through their color schemes. The most predominant color schemes involve similar colors, contrasting colors, and complimentary colors.
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Smirnov, Ivan. "Расплескавшийся цветом. К.В. Душенко Красное и белое. Из истории политического языка: Сборник статей / РАН. ИНИОН. Москва: Центр гуманитарных научно-информационных исследований, 2018." Przegląd Rusycystyczny, no. 3 (175) (June 18, 2021): 251–57. http://dx.doi.org/10.31261/pr.9317.
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This review presents the author's views on the book Red and White, which deals with the multivariance of color symbolism of the political language of revolutions in France and Russia. Writers' ideas about color political language of that historical period are reflected in their literary works. The characteristic features of white, red, black and blue colors, which carry an active visual call at all times, are highlighted and described. Conducting his own analysis of the identity of the color palette of the French tricolor and Russian tricolor flags, the author of the article is based on the principles of perception of color by representatives of various ethnic groups, based on the experience of processing external impressions and mentality.
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Presley, Ann Beth, and Whitney Upchurch Campassi. "Measuring Clothing Color and Design Symbolism Preferences and Purchase Intentions of Asian Indian Females at Different Levels of Acculturation." ISRN Textiles 2013 (July 18, 2013): 1–8. http://dx.doi.org/10.1155/2013/859419.
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The purpose of this study was to develop a reliable and valid instrument to measure color, design clothing preferences, and purchase intentions of Asian-Indian female consumers; secondarily, to determine if westernized clothes with Asian-Indian ethnic dress elements might be purchased more often than westernized clothing with design attributes primarily symbolic of American culture at different levels of acculturation. The instrument included a modified acculturation scale, limited demographics, and the developed Clothing Preferences and Purchase Intention Instrument. The instrument consisted of four components: Color Symbolism and Purchase Intention, Design Symbolism and Purchase Intention, Symbolic Attributes Scale, and Clothing Preference and Purchase Intention for Mainstream American versus Asian-Indian Inspired. All of the scales had high reliability. Of the 30 colors in the instrument, red, magenta, orange gold, yellow, cobalt blue, and purple were symbolic of Asian-Indian dress; hunter green, navy blue, baby blue, and blue were considered western colors. Neutral colors were eliminated. Nine of the 27 tunics in the instrument were highly indicative of Asian-Indian clothing; 11 were indicative of westernized clothing. Secondarily, Asian-Indians preferred and showed intent to purchase westernized clothing with colors and designs associated with their native country’s traditional dress regardless of acculturation.
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Kryvoruchko, Y. I. "Symbolism of color in sacred painting of Jerzy Nowosielski." Newsletter Transcarpathian Academy of Arts 1, no. 12 (2019): 114–18. http://dx.doi.org/10.35204/2520-6419-2019-1-12-114-118.
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Prokhorenkova, Svetlana. "Color Symbolism in the Works by Raphael and Mozart." Bulletin of Baikal State University 30, no. 2 (June 11, 2020): 195–204. http://dx.doi.org/10.17150/2500-2759.2020.30(2).195-204.
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Color symbolism in the works by Raphael and Mozart has not been studied thoroughly enough yet due to the complexity of this topic. The basis for the analysis of Raphael’s and Mozart’s creative approaches was G.V. Chicherin’s method, aimed at revealing common and different aspects in them. The researcher has discovered internal relations between works of various kinds of art, between art and philosophy more than once. Famous poets and composers (A. Pushkin, J.W. Goethe, F. List) and also art experts and philosophers have studied Raphael’s and Mozart’s creative ideas and wrote fundamental works dedicated to various aspects of the artist’s and composer’s artwork. According to J.W. Goethe’s and F. List’s studies, Raphael’s and Mozart’s creations appear to be congenial. Romantic poets and artists took up Goethe’s and List’s ideas and developed them in their own fashion. E.T.A. Hoffmann was the first to pay attention to color symbolism in Mozart’s works, and the coloration of Raphael’s paintings influenced K. Bryullov. In the 20th century, G.V. Chicherin and H. Abert made their contribution to investigating a possible interrelation between Raphael’s and Mozarts’ works of art. In the article, the author considers an interpretation of the color on the fresco «The School of Athens» by Raphael and also in the songs and operas by Mozart.
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Plog, Stephen. "Exploring the Ubiquitous through the Unusual: Color Symbolism in Pueblo Black-on-White Pottery." American Antiquity 68, no. 4 (October 2003): 665–95. http://dx.doi.org/10.2307/3557067.
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One of the common design characteristics on black-on-white pottery from the eleventh and twelfth centuries in the northern American Southwest is the use of thin, parallel lines (hachure) to fill the interior of bands, triangles, or other forms. This essay explores a proposal offered by Jerry Brody that hachure was a symbol for the color blue-green. Brody's proposal is examined by exploring colors and color patterns used to decorate nonceramic material from the Chaco Canyon region of northwestern New Mexico. His proposal is supported and the implications of this conclusion for Chaco Canyon and for future studies of this nature are discussed.
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Bálizs, Beáta. "Meanings of the Color Yellow and Its Color Associates, Yellow-Black and Yellow-Green." Hungarian Cultural Studies 14 (July 16, 2021): 100–120. http://dx.doi.org/10.5195/ahea.2021.430.
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Embedded in culture historical research on color, the present study contributes to the hypothesis that a given color only obtains its cultural or symbolical meanings in association with another color. By analyzing Hungarian examples of the color yellow, I will demonstrate that a color may have associations of a different character in relation to another color: this association may rely on symbolism alone, as seen in the relationship between yellow and black in connection with the concept of impurity tied to bile, excrement and dirty soil. Connections between colors may also be based on sensory-psychological/cognitive similarities, such as those drawn between yellow and green in earlier times across Europe, an association that can be traced in some archaic elements of Hungarian culture, such as in the ideas connected to jaundice. In addition to this argument, I also propose that, out of excreta, compared to feces light yellow urine is closer to the category of white associated with purity (through the analogy of white wine) than to yellow which (also) symbolizes impurity.
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Inzhivotkina, Yana V. "IMAGES OF WHITE AND RED IN SPANISH AND ENGLISH SPEAKERS' CONSCIOUSNESS." Theoretical and Applied Linguistics, no. 1 (2019): 46–63. http://dx.doi.org/10.22250/2410-7190_2019_5_1_46_63.
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The importance of color in different national cultures has been described by many researchers from various scientific fields. A particular color is often given certain meanings, however these meanings and interpretations vary enormously in different cultures. The collective consciousness of a linguistic community attributes the features that it considers typical to a certain color. It this paper, two colors are considered - white and red, which can be viewed as cultural markers having important cultural value for many nations. The experiment was aimed to identify images that arise in the minds of Spaniards, Ecuadorians and Americans when a stimulus of a color name appears as well as to find their similarities and differences. The symbolism of these colors was identified by means of free associative experiment and further investigated in accordance with certain features (abstract or substantive; positive, negative or neutral) and associative field zones. The obtained results demonstrate similarities and differences in the number of associates and their distribution within the features and zones as well as some divergences from the color world picture traditional for the three cultures.
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Russell, Will G., Sarah Klassen, and Katherine Salazar. "LINES OF COMMUNICATION: MIMBRES HACHURE AND CONCEPTS OF COLOR." American Antiquity 83, no. 1 (October 17, 2017): 109–27. http://dx.doi.org/10.1017/aaq.2017.52.
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Turquoise has played an important role in the Southwest, both today and in the distant past. Increasingly, archaeologists are coming to appreciate that the mineral was likely valued for its symbolism, rather than its chemical properties or economic worth. Thus, the color blue-green and a variety of blue-green things may have been conceptually analogous, together referencing and petitioning moisture. J. J. Brody recognized that additional symbols, while not themselves blue-green, may have likewise belonged to this blue-green complex. Over a decade ago, and while testing Brody's hypothesis, Stephen Plog convincingly argued that black-on-white hachure in Gallup-Dogoszhi pottery served as a proxy for blue-green. Here, we ask whether Mimbres artists incorporated the same symbolism. Findings suggest that Mimbres hachure was likely representative of color but not necessarily blue-green. In fact, it may have referenced yellow. Yellow and blue are often paired among the Pueblos, and interregional differences in the meaning of hachure may relate to interregional complementarity.
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Derzhavina, Olga Anatolyevna, Alexander Vladimirovich Smirnov, Ekaterina Yuryevna Ivanova, Galina Ivanovna Gribkova, and Natalia Nikolaevna Korshunova. "Color Symbolism in the Cultures of the North American Indians." Journal of Advanced Research in Dynamical and Control Systems 12, no. 05-SPECIAL ISSUE (May 30, 2020): 1339–45. http://dx.doi.org/10.5373/jardcs/v12sp5/20201893.
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Nazarenko, O. "NATIONAL CULTURAL CONTEXT OF COLOR SYMBOLISM IN UKRAINIAN PHRASEOLOGICAL UNITS." International Humanitarian University Herald. Philology 2, no. 46 (2020): 43–46. http://dx.doi.org/10.32841/2409-1154.2020.46-2.10.
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Nordin, Mohamad Azizie, and Saiful Akram Che Cob. "Symbolism of The Sabah Bugis Motive: Sign and Meaning: Weapon and Textile." Kupas Seni 8, no. 2 (November 27, 2020): 1–12. http://dx.doi.org/10.37134/kupasseni.vol8.2.1.2020.
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The research aims to analyse the motive of the traditional Bugis symbol and meaning in Tawau, Sabah (weapon & textile). The research is type is d descriptive qualitative approach with interviews, observation, document, and literature review. Data analysis techniques in this research are ethnography Clifford Geertz. The results of the research indicated that weapons and textiles have a philosophy and symbolic meaning of Bugis Sabah's motive. In this study, textile for Bugis Sabah has convinced symbolic meanings that are very dependent on the wearer for green color for nobility women, red color for teenager’s girl, red color for married women, purple color for widows, black color for elderly and white color for assistants and shaman. Lippa Sabbe’ cloth also has its meaning and philosophy. The motifs found in this Lippa Sabbe ’is Balo Tettong, Mallobang, Cobo, Balo dan Balo Renni. For weapons, the cultural value system is also an important aspect of a culture that has a concept in the lives of society. These cultural values are an important and valuable aspect of one's personality. This is also because the value of the culture is also a guideline that is significant enough for each human behavior. In culture, there are ideas and values for them to learn. In a way, they are sure to know the elements. Pamor Polobessi functions to providing content on the values of heroism (arowaenengeng); meanwhile (abbaramparengeng is meant to be wealth. Also, the authority known as (arajangeng) is placed in Polobessi.
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Pak, Lyudmila V. "THE COLOR - SEMANTICS AND SYMBOLISM IN THE CULTURE OF KOREANS OF UZBEKISTAN (ON THE EXAMPLE OF WEDDING RITUALS)." JOURNAL OF LOOK TO THE PAST 4, no. 3 (March 30, 2021): 71–80. http://dx.doi.org/10.26739/2181-9599-2021-3-9.
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The colors, their combination have always been important in the culture of any ethnic group. Their symbolic meaning played a tremendous role in everyday culture, in various religious and professional (agricultural and handicraft) ceremonies and rituals of the life and calendar cycles. But they acquired the most important value in wedding rituals. In this article the color semantics and symbols in the wedding rituals of Koreans in Uzbekistan are considered on considerable ground for the first time. The author examines the origins of veneration of distinct flowers, their functional significance in costume and bride’s jewelry and at various stages of the wedding rite.Index Terms: tradition, myth, semantics, symbolism, wedding ceremony, category, fire, hearth, porridge-pub, color triad, integration
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Sagiv, Gadi. "Dazzling Blue: Color Symbolism, Kabbalistic Myth, and the Evil Eye in Judaism." Numen 64, no. 2-3 (March 8, 2017): 183–208. http://dx.doi.org/10.1163/15685276-12341459.
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The color blue is thought to protect against the evil eye in Mediterranean cultures. This article unfolds the yet-unstudied role played by kabbalistic theology, symbolism, and myth in the construction of the color blue as a protective color for Jews. It traces particularly the development of a medieval kabbalistic myth of a dazzling blue garment of the feminine aspect of the godhead, protecting her from contact with evil forces. The article shows how this myth became the foundation for various practices against the evil eye among Jews in the modern period and contextualizes this myth within theories about the evil eye.
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Bakieva, Olga A. "COLOR IN THE TRADITIONAL COSTUME ART OF INDIGENOUS SMALL NATIONS IN TYUMEN NORTH." Vestnik Tomskogo gosudarstvennogo universiteta. Kul'turologiya i iskusstvovedenie, no. 39 (2020): 226–40. http://dx.doi.org/10.17223/22220836/39/21.
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The study connected with the problem of color vision in the ethnic culture. The focus of the author is the art of folk costume for the indigenous peoples in Tyumen North (Khanty, Mansi and Nenets). Using Luscher color test, the author developed the criteria for the analysis of color symbolism in traditional costume: dominant (primary colors that craftsman presents traditional clothing highlights as a characteristic for their ethnic group and keep it as an ideal which we should follow). This criterion correlated in tests Luscher with a “+” – wants to be; the subdominant (color ornamental symbols that usually tell about the relationship in human world). The criterion is matched, according to Lusero, with the function of “x”, which is as a manifestation of human capabilities in interaction with outside world. Tonic (color accents in the stripes and small details) corresponds the function of “=”, meaning the actions the person performs, and, in the opinion of the author, with ethno-psychological features of master as a representative of the national community, ethnic group. The author thinks that base on criteria helps to perform color symbolism in traditional costume and to correlate it with the ethnopsy-chology. The article considers the traditional women's clothing of the Nenets, the Khanty and Mansi from the Museum collections in the cities of Tyumen, Tobolsk, Khanty-Mansiysk, due to their greatest authenticity in traditional clothes, especially on the background of modern dynamics suit for indige-nous peoples of the North. Every Museum thing has color analysis on three defined criteria, and then occurred the interpretation of the analysis according to the method Luscher color diagnostics. As a result there is psychological characteristic of every master and his support in traditions of the ethnic community. It was connected with the characteristics of ethnic groups, the ethnopsychology. The research shows the possibility of correlation in personal and psychological characteristics of traditional masters, based on the analysis of psychological patterns in color perception. The author used the psychology inherent in the ethnic group, considering the relationship between the color codes in traditional costume and the ethnopsychology of people in the North.
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Vavilova, Kseniya Yur'evna. "Symbolism in the English and Russian fairy tale folklore: comparative analysis." Филология: научные исследования, no. 11 (November 2021): 94–106. http://dx.doi.org/10.7256/2454-0749.2021.11.36438.
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The subject of this research is the symbolism in the English and Russian fairytale tradition. The object is the texts of the Russian and English fairy tales. Analysis of the texts reveals the typical functions performed by symbols in both folklore traditions. The author provides the examples of symbols and offers the interpretation of objects-symbols, symbols-zoonyms, color and number symbols, time and space symbols. Comparative study of folklore heritage of non-cognate languages reveals the fundamental commonness of a particular folk genre of different peoples in their perspective upon reality, methods of depiction, and ideological interpretations. The scientific novelty consists in conclusions obtained in the comparative study of the symbolism of fairy tale texts in the Russian and British folklore, which is important for determination of linguistic, semiological and cultural universals. The comparative study of folklore material of two traditions in the sphere of the poetics of folklore reveals the traditional universals and unique features on the level of symbolism of the fairy tale genre. Within the framework of the article, the author analyzes the functionality of thematic, animalistic, color, spatial-temporal, and numerical symbols. The acquired results are underpinned by a large number of text examples.
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Platonova, O. A. "Salsa and Santeria: to the Problem of Desacralization of a Ritual." Observatory of Culture, no. 3 (June 28, 2015): 52–58. http://dx.doi.org/10.25281/2072-3156-2015-0-3-52-58.
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Salsa and Santeria: to the Problem of Desacralization of a Ritual (by Olesia Platonova) is dedicated to the dialogue between a popular genre (salsa) and a religion (Santeria) in the context of desacralization of a ritual. Comparing salsa and other genres, like gospel, spiritual, Christian rock, the author notes a profound connection between a song and a personal spiritual experience of the musician, analyses some examples of the genre: subject symbolism, color symbolism, bilingualism of texts (the Spanish and Yoruba languages), music quotations of Santeria’s hymns.
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Morrall, Andrew. "‘Siben Farben unnd Künsten frey’: The Place of Color in Martin Schaffner’s Universe Tabletop of 1533." Early Science and Medicine 20, no. 4-6 (December 7, 2015): 478–514. http://dx.doi.org/10.1163/15733823-02046p08.
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This article investigates the place of colors within an encyclopedic scheme painted as a tabletop by the Ulm artist Martin Schaffner in 1533 for a member of the Strassburg goldsmith family Stedelin. The painting depicts a model of the Ptolemaic Universe, structured in sequences of sevens – of planets, metals, virtues and liberal arts, days of the week, as well as colors. The essay situates the seven colors within the traditions of medieval color symbolism, arguing for their particular relation with the liberal arts following an earlier manuscript and print tradition. In this tradition, colors served as attributes, their qualities derived from a wide set of allegorical and symbolic meanings, so as literally to color the liberal arts with qualities appropriate to them. This association, it is argued, reinforces the work’s implicit theme, namely the claim to painting as a liberal art and to the learned status of the artist, one underlined by Schaffner’s inclusion of a self-portrait as Ptolemy himself.
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Klink, Richard R., and Gerard A. Athaide. "Examining the brand name – mark relationship in emerging markets." Journal of Product & Brand Management 23, no. 4/5 (August 18, 2014): 262–67. http://dx.doi.org/10.1108/jpbm-03-2014-0512.
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Purpose – The purpose of this research is to investigate whether the brand name–mark sound symbolism relationship extends beyond US marketplaces to emerging markets. Sound symbolism research indicates that consistent brand name meaning can be conveyed across international marketplaces. Yet, prior work has not investigated whether visual branding elements provide consistent meaning across such contexts. Design/methodology/approach – To contrast effects across international contexts, we replicate both studies of Klink (2003) with bilingual subjects in Mumbai, India. Study 1 examined whether the sound symbolic relationship between brand name and brand mark holds in this emerging market. Study 2 investigated whether both the brand name and brand mark together can enhance brand meaning in this context. Findings – Study 1 finds support for the relationship between higher-frequency brand names and brand marks that are angular and smaller in size, with limited support regarding color. Study 2 finds a significant effect for brand marks and a marginally significant effect for brand names on conveying intended meaning. Originality/value – The authors confirm the relationship between the brand mark and brand name; however, color meaning may be less universal than prior theory and research indicates. In addition, the effect of the brand name on conveying sound symbolism meaning may be less important than visual branding elements in emerging markets. Hence, future research may wish to include additional branding elements in experimental stimuli when testing sound symbolism theory.
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Adamska, Dagmara, Przemysław Nocuń, Tomasz Ratajczak, and František Záruba. "Color in Medieval Castle Architecture in Present-Day Poland and Czech Republic." Arts 11, no. 1 (February 7, 2022): 28. http://dx.doi.org/10.3390/arts11010028.
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Colors were ubiquitous in the medieval world, and castles were no exception. While in the eyes of most people their rich color schemes manifested power and wealth, some could also read the more nuanced messages these colors conveyed. The main objective of this paper is to discuss the use and role of color in the interiors of castles of medieval Bohemia and Poland. The picture is complemented by the analysis of color decorations of defensive residences of the Teutonic Order. The discussion takes into account the varying states of preservation and draws from the available written accounts. To present the most complete picture possible, we discuss royal residences, for which unfortunately limited data are available, as well as the better-preserved castles of dukes and knights. We discuss the identified iconographic programs and their chivalric, heraldic, and hagiographic motifs. Within the scope of our discussion are late forms of floral decorations, known as “green chambers”. The numerous examples presented in the paper prove that color was an important tool of visual social communication in castle architecture: it complemented the symbolism, and sometimes carried an independent message.
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Novikova, Marina L., and Fillip N. Novikov. "Cultural codes of the new reality in the multilingual space and interlingual contacts (through the lens of color term research)." Philological Sciences. Scientific Essays of Higher Education 2, no. 6 (November 2021): 184–91. http://dx.doi.org/10.20339/phs.6-21.184.
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Colors, color terms and color symbolism are determined by a multitude of linguistic and cultural contacts in various spheres of social, political and cultural aspects of life in various geopolitical dimensions. They are of a great interest to scholars studying linguistic processes in the multilingual space. In the recent decades the mental modus operandi has shifted towards the visual aspect, precoding texts into images. This process has had a great influence on interlinguistic contacts; it is represented in the new reality through various semiotic devices, among which are the color components. The research rationale is motivated by the fact that images of total socialization lead to a multidirectional cognition of colors and color code transformation. Researching these processes through the lens of color studies reveals the multitude of ways of linguistic experience objectification and the impact it has on mentality. Due to the relevance of the problem, the authors aim to study the potential of cultural and cognitive information contained by color terms in various languages by addressing cultural codes of the new language reality in the multidimensional linguistic space. Color is an important component of culture and the realization of moral and aesthetic values; it is surrounded by a system of associations created by the objective material world and various cultural factors that are widely represented in the modern linguistic practice, which determines the relevance of comparative studies. This scientific approach facilitates a comprehensive description of connections between colors and tokens in different languages, as well as the practical value of color terms and their multidimensionality.
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Nusratova, Aziza Chuliboevna. "COMPARISON OF COLOR SYMBOLISM IN ENGLISH, RUSSIAN AND UZBEK FOLK TALES." Theoretical & Applied Science 82, no. 02 (February 28, 2020): 174–76. http://dx.doi.org/10.15863/tas.2020.02.82.32.
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한혜림 and JungKyo Lee. "A Study on Color Symbolism of the Organic Food Brand Identity." Journal of Korea Intitute of Spatial Design 9, no. 3 (September 2014): 163–72. http://dx.doi.org/10.35216/kisd.2014.9.3.163.
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Wang, Cong, Kim Jisu, and Youngjoo Na. "A Study on the Color Sensation and Symbolism of Tibet Costume." Korean Society for Emotion and Sensibility 21, no. 3 (September 30, 2018): 115–28. http://dx.doi.org/10.14695/kjsos.2018.21.3.115.
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Garunova, Saida Magomedkhanovna, Robert Chenciner, and Magomedhan M. Magomedhanov. "COLOUR AND SYMBOLISM IN DAGHESTAN FOLKLORE LITERATURE AND CARPETS - A FRESH LOOK." History, Archeology and Ethnography of the Caucasus 14, no. 3 (December 15, 2018): 109–26. http://dx.doi.org/10.32653/ch143109-126.
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In the present article, we study more issues of color semantics and symbols. Our research is based on the analysis of mainly Daghestani folklore and ethnographic materials and colour characteristics of traditional textiles, including carpets. We examined two methods of gathering evidence about associations of colours in the minds of people. The first is to use some kind of psychological tests. The second is to use ideas incorporated in folklore and folk litera- ture, as handed down through generations of narrators and listeners. During this process, successive narrators have unconsciously filtered the material to ensure its relevance to their audience. This is clearly an indirect meth- od: nobody actually answers the questions from today’s experimenter, so any colour associations must be inferred from the context. Colours in oral tradition were considered, not in isolation, but rather in contrasting pairs or in sequences. It was found that a specific colour could have different associations in different conditions, and that generally the associations were more abstract than concrete. In surviving woolen rugs and felts and silk embroideries, colours appear to be linked with availability of dyes or decorative preferences rather than symbolism.
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Kopyriulina, Olga M. "Color designation semantics in S.A. Esenin and E. Verhaeren’s lyric." Neophilology, no. 26 (2021): 320–27. http://dx.doi.org/10.20310/2587-6953-2021-7-26-320-327.
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We consider the color designation features in the poetic texts of Russian and French poets. An appeal to the lyric poetry of great writers from a chosen perspective expands and concretizes the existing ideas about the individual features of the authors’ style. Analysis object is the language units of poetry by S.A. Esenin and E. Verhaeren, containing color semantics. A comparative analysis of several works representative within the framework of the declared theme reveals the similarities and differences in the color palette of Esenin and Verhaeren’s lyrics. We consider the semantics of blue, white, yellow, red colors and their shades in poems of poets. Special attention is paid to the golden color poetics, the use of which is also focused on religious symbolism. We designate the vectors of changes in the set of colors in different periods of Esenin and Verhaeren’s creative activity, the dependence of the changes in the color scale on the general pathos of the poets and the events of their personal biography is determined. We clarify the reasons for the differences in color solutions in the landscape and philosophical poetry, explained by the authors’ belonging to different literary trends and national traditions. We provide examples of discrepan-cies in existing Russian translations of E. Verhaeren’s works with the provision of our own trans-lations.