Journal articles: 'Colour symbolism'

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Parikh, Kashyap. "Colour Symbolism - Emotional Values of Colour." Indian Journal of Applied Research 3, no. 1 (October 1, 2011): 65–66. http://dx.doi.org/10.15373/2249555x/jan2013/26.

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Noor Al-Huda Kadhim Hussein, Asst Prof Qasim Abbas Dhayef,. "A Pragmatic-Semantic Study of Colour Symbolism in English and Arabic Literary Texts." Psychology and Education Journal 58, no. 1 (January 1, 2021): 2180–85. http://dx.doi.org/10.17762/pae.v58i1.1095.

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Symbolism in general and colour symbolism in particular have not received the linguists' attention in the same way studied by literary critics. Thus, the present study is an attempt to limit this gap by studying colour symbolism linguistically to answer the following questions: (1) What is the most flouted maxim in colour symbolism in literary texts in English and Arabic? (2) Is colour symbolism context-dependent in literary texts? (3) What are the semantic aspects of colour symbolism in the literary texts selected? Thus, the present study aims at: (1) Pinpointing the most flouted maxim in colour symbolism in literary texts in English and Arabic. (2) Determining whether colour symbolism is context-dependent in literary texts. (3) Investigating he semantic aspects of colour symbolism in the literary texts selected. To achieve its aims, the present study hypothesizes that: (1) The maxim of manner is the most flouted maxim in colour symbolism in English and Arabic literary texts. (2) Colours symbolize different things in different contexts. (3) There are certain semantic aspects for colour symbolism manipulated in the literary texts such as using metaphor and conveying the connotative meaning of colours. Then, in order to achieve the aims of the study and test its hypotheses, the following procedures are adopted: (1) Presenting a theoretical background about colour symbolism in general and colour symbolism from a linguistic point of view. (2) Analyzing (six) extracts of literary texts according to an eclectic model based on Eco’s (1984) model Semiotics and the Philosophy of Language and some semantic aspects. The data of the present study is collected from Nathaniel Hawthorne and Wassini Al-A'erj novels "The Scarlet Letter" and "انثى السراب" Ontha Al Sarab" respectively. The study has come up with certain conclusions that prove the above set hypotheses.

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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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Petru, Simona. "Red, black or white? The dawn of colour symbolism." Documenta Praehistorica 33 (December 31, 2006): 203–8. http://dx.doi.org/10.4312/dp.33.18.

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In this paper the use of the pigments in the Paleolithic is presented, and some ideas of the symbolic meaning of colours are suggested. The colour red might have been a symbol of transformation, and as such, it was used in burials and for painting the Venus figurines. In the Slovenian Paleolithic, there is scant evidence of importance of colour and only a few finds of stones used for the grinding of the red pigment have been found.

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Jones, Andrew. "Local Colour: Megalithic Architecture and Colour Symbolism in Neolithic Arran." Oxford Journal of Archaeology 18, no. 4 (November 1999): 339–50. http://dx.doi.org/10.1111/1468-0092.00088.

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Cobb, Charles R., and Eric Drake. "The Colour of Time: Head Pots and Temporal Convergences." Cambridge Archaeological Journal 18, no. 1 (February 2008): 85–93. http://dx.doi.org/10.1017/s0959774308000097.

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Colour symbolism permeated the world of indigenous North America. This symbolism was often tied to the cosmos where the earth was viewed as a quadrilateral disk and each of the four cardinal directions was linked with a colour array such as red, white, black, and blue. We suggest that the recurring use of certain colours and colour contrasts comprised a suite of long-term historical practices that were essential for reproducing certain views about the world and about being in the world. Further, the rendering of colour had a plasticity that allowed it to enter a discourse about daily life that was intertwined with notions of the long-term. As a case study, we focus on well-known ceramic head effigies in the central Mississippi Valley to argue that their veneers of contrasting red and white were imbued with a notion of time immemorial that converged with other conceptions of temporality, most importantly, a pressing concern with regional violence, personal safety, and spiritual integrity.

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Rana, Poonam R. L. "Symbolism behind Art and Colour denoted on the Buddhist Prayer Flags." SIRJANĀ – A Journal on Arts and Art Education 6, no. 1 (December 1, 2019): 54–61. http://dx.doi.org/10.3126/sirjana.v6i1.39673.

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Sacred Prayer Flags of different colours and symbols are not just decorative pieces. Symbols have more deeper meaning and the attached intangible beliefs than their mere outer creativity. Each and every colour and objects symbolizes good fortune, health, happiness, protection. The prayer flags are very sacred, because they contain texts from the holy sutras termed as 'mantras' and symbols that should be respected. Hence the painted or printed objects and colours are of great values to humanity.

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Bawej, Izabela. "O kolorach miłości w języku polskim i niemieckim (Aspekty językowo-kulturowe)." Acta Universitatis Lodziensis. Folia Germanica, no. 14 (September 25, 2018): 67–81. http://dx.doi.org/10.18778/1427-9665.14.07.

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The article describes six basic colour terms and their connotations concerning love on the basis of love between a woman and a man by prism of Poles and Germans.The analysis covers selected expressions with a colour element connoted a feeling of liking someone combined with sexual attraction to answer following questions: What colour does love have in Polish and German? What are physiological sources of the symbolism of love’s colours in Polish and German culture? Is the perception of love similar or different in both languages?

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Hayward, Maria. "Dressed in Blue: The Impact of Woad on English Clothing, c. 1350–c. 1670." Costume 49, no. 2 (June 1, 2015): 168–85. http://dx.doi.org/10.1179/0590887615z.00000000074.

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This paper seeks to explore the changing importance of blue colours, blue dyes and woad in particular in England in the late Middle Ages and early modern period. It does so by considering six themes — the popularity and fashionability of blue; blue and its significance within the Order of the Garter; blue as a colour worn by the lower social groups and its association with poverty and livery; colour symbolism of blue; blue and court entertainments; blue and the liturgy — but it will start with a review of blue colours and blue dyes.

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Lee, Hwa-Young. "The colour symbolism in Wolfram von Eschenbach's Parzival." JOURNAL OF HUMANITIES STUDIES 109 (December 31, 2017): 361–79. http://dx.doi.org/10.46346/tjhs.109..15.

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Panasenko, N. "COLOUR TERMS IN SUDDEN FICTION." Philology at MGIMO 19, no. 3 (October 3, 2019): 131–38. http://dx.doi.org/10.24833/2410-2423-2019-3-19-131-138.

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The paper presents the analysis of colour perception and its interpretation in psychology and symbolism; it highlights colour properties and the approaches to colour studies largely in linguistics. One of the features of colours is their ability to express human emotions and feelings, either positive or negative (verbally/ nonverbally), and to create certain atmosphere in the situation abound in colours. Shades of colours can be regarded as a lexico-semantic group formed by adjectives and nouns, which can be simple, derived, and compound words. Short texts include many colour terms expressing such colour properties, as hue, saturation, tone, lightness, intensity; each of them contributes to decoding of some culture-specific features hidden in Sudden fiction. The analysis of Sudden fiction shows that short stories have specific composition, where colour terms perform different functions. Descriptive functions are mainly connected with focal colours and identify objects’ properties. Other functions, such as character-generating, associative, metaphoric, symbolic, semiotic, and culture specific are more complicated. Their identification implies additional knowledge of cultural, social, and historical planes.

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Finiello Zervas, Diane. "From the Instinctual to the Cosmic: Jung’s Exploration of the Colour in The Red Book, 1915-1929/30." Phanês Journal For Jung History, no. 3 (December 19, 2020): 25–75. http://dx.doi.org/10.32724/phanes.2020.finiellozervas.

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Jung wrote extensively about colour symbolism in his patients’ dreams, paintings, and active imagination, beginning with his first mandala study in 1929, and continuing during the 1930s as he learned more about alchemy and Eastern esoteric texts. Students of Jung and Jungian analysts are already well acquainted with this material. The publication of The Red Book (2009), and Jung’s visual works in The Art of C.G. Jung (2019), present new opportunities to study how Jung explored colour between 1915 and 1929. This paper will trace Jung’s colour journey, concentrating on imagery that illustrates the instinctual and cosmic energies of the new god, the self and individuation. Jung’s evolving colour symbolism demonstrates The Red Book’s crucial role as an experimental medium, and confirms that Jung had developed a well-established colour hermeneutic by the 1920s. KEY WORDS colour, instinct, cosmos, new god, self, individuation, mandala, Goethe.

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Finiello Zervas, Diane. "From the Instinctual to the Cosmic: Jung’s Exploration of the Colour in The Red Book, 1915-1929/30." Phanês Journal For Jung History, no. 3 (December 19, 2020): 25–75. http://dx.doi.org/10.32724/phanes.2020.zervas.

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Jung wrote extensively about colour symbolism in his patients’ dreams, paintings, and active imagination, beginning with his first mandala study in 1929, and continuing during the 1930s as he learned more about alchemy and Eastern esoteric texts. Students of Jung and Jungian analysts are already well acquainted with this material. The publication of The Red Book (2009), and Jung’s visual works in The Art of C.G. Jung (2019), present new opportunities to study how Jung explored colour between 1915 and 1929. This paper will trace Jung’s colour journey, concentrating on imagery that illustrates the instinctual and cosmic energies of the new god, the self and individuation. Jung’s evolving colour symbolism demonstrates The Red Book’s crucial role as an experimental medium, and confirms that Jung had developed a well-established colour hermeneutic by the 1920s. KEY WORDS colour, instinct, cosmos, new god, self, individuation, mandala, Goethe.

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14

Hunt, David. "Colour Symbolism in the Folk Literature of the Caucasus." Folklore 117, no. 3 (December 2006): 329–38. http://dx.doi.org/10.1080/00155870600928989.

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Kiernan, J. P. "Wear ‘n’ tear and repair: the colour coding of mystical mending in Zulu Zionist Churches." Africa 61, no. 1 (January 1991): 26–39. http://dx.doi.org/10.2307/1160268.

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AbstractOne of the most conspicuous aspects of religious experience in Zulu Zionist Churches is the bright colours that are worn and otherwise employed. Surprisingly, this highly visible feature has attracted only passing attention from those who have studied these Churches; certainly no serious effort has been made to uncover the ritual significance of their colour symbolism. Against the background of anthropological studies of the therapeutic deployment of colour symbols in Africa and in the light of my own research among Zulu Zionists, this article sets out to show that the colours selected by Zionists from among those of salience to Africans express how they situate themselves within their social universe and plot the process of their response to it in ritual healing.

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Avakyan, Naira, and Naira Nersissyan. "On Psychological, Semantic and Structural Aspects of English Colour Terms." Armenian Folia Anglistika 8, no. 1-2 (10) (October 15, 2012): 60–64. http://dx.doi.org/10.46991/afa/2012.8.1-2.060.

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Colour symbolism plays a great role in art, religious rituals and everyday life. Colour names can be encountered in phraseological units which are based on the semantic and psychological perceptions typical of a given nation and culture. They reflect the semantic, grammatical, lexicological and psychological peculiarities specific to a given language. The article discusses certain psychological, semantic and structural aspects of phraseological units with colour names.

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MUTHESIUS, Anna. "Cloth, colour, symbolism and meaning in Byzantium (4th-15th centuries)." Δελτίον Χριστιανικής Αρχαιολογικής Εταιρείας 37 (October 25, 2016): 181. http://dx.doi.org/10.12681/dchae.10695.

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Στο άρθρο εξετάζεται ο ρόλος που έπαιξαν οι βαφές των βυζαντινών μεταξωτών στη διαδικασία της αντίληψης του φωτός και του χρώματος στο Βυζάντιο από τον 4ο έως και 15ο αιώνα και ερευνάται η σχέση των συμβολισμών των χρωμάτων με την πολιτική ιδεολογία, τη θρησκευτική πίστη και την κοινωνική αλληλεπίδραση. Ακόμη, γίνεται διάκριση της σημασίας του χρώματος ως φορέα της φυσικής απόχρωσης και ως αλληγορίας για την εξουσία ή τη χριστιανική σωτηριολογία. Στη μελέτη υποστηρίζεται ότι στο Βυζάντιο το φως και το χρώμα είχαν ιδιαίτερη σημασία για τα μεταξωτά υφάσματα. Ως προς την αντίληψη των χρωμάτων από τους Βυζαντινούς τα μεταξωτά χρησίμευαν στην μεταφορά της φυσικής παρατήρησης που βασίζεται στις αισθήσεις στο πεδίο της νόησης, όπου τα ενσωματωμένα συμβολικά νοήματα μπορούσαν να αποκαλυφθούν και να εκτιμηθούν ανάλογα.

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Borodulina, Nataliya Yur’evna, Marina Nikolaevna Makeeva, and Ol’ga Anatol’evna Glivenkova. "COLOUR HAS MEANING VS COLOUR DOESN’T HAVE MEANING (SYMBOLISM OF YELLOW COLOUR IN REPRESENTATION OF SOCIAL MOVEMENTS IN EUROPE)." Philological Sciences. Issues of Theory and Practice, no. 4 (April 2019): 228–32. http://dx.doi.org/10.30853/filnauki.2019.4.47.

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Singh, Amarjeet. "The Symphony of Red Colour in Indian Art and Advertising: An Aesthetical Approach." Think India 22, no. 3 (September 20, 2019): 1030–35. http://dx.doi.org/10.26643/think-india.v22i3.8441.

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Red is not only a colour but is a language of art and creativity from the dawn of civilization. The aroma of the red colour has the extravaganza of life with its fullest energy. In India art and architecture, variety of application of colour red can be seen as having multiple associations. Consequently, the approach can be seen in the art and architecture, the folk and tribal art practices too. This very genesis of red colour has been adopted in Indian art and advertising too. The symbolic association of red and its religious values which are usually associated with deities and ritualistic performances have been taken as a tool to manipulate the minds of the consumer. In various countries the same symbolic and organic temperaments of red colour have been taken as a semiotic for the coding of physiological approach in the consumer and art lovers. The paper aims to discuss the effective role symbolism of red colour in the creative process and productions. The paper has been based on two major aspects i.e. the approach of art and advertising with the significance of red colours with a special reference to Indian art.

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Oguy, Oleksandr, and Olha Ivasiuk. "Christian Symbolism of Color in the Middle Ages in the Context of a New Concept of the Symbol as a Hypermark." Mediaforum : Analytics, Forecasts, Information Management, no. 7 (December 23, 2019): 188–210. http://dx.doi.org/10.31861/mediaforum.2019.7.188-210.

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The article focuses on systematic research of Christian colour symbols as well as upon definition of symbol as a hyper sign which represents certain concepts, ideas or phenomena accepted in some communities. It was pointed out that colours as super symbols, which are realized through certain images (visions), pictures and clothes or even through a word, accepted symbolic use typical for Christianity. It was also proved that in Middle Ages colour defined status in clothes and its depicting in literature. At the same time colour was an expressive characteristic for dynamic liturgy as a complicated dynamic system of different signs (images-icons, symbols and indexes). In general symbols were defined as complicated cultural phenomena depending upon both individual interpretation and upon the level of cultural stereotypes.

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Suzanskaya, T. N. "SYMBOLISTS ANDREY BELY AND GEORGE BACOVIA: COMPARISON OF LOVE POEMS." Russian Journal of Multilingualism and Education 12 (December 25, 2020): 109–17. http://dx.doi.org/10.35634/2500-0748-2020-12-109-117.

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The article discusses artistic features of the lyrical poems by A. Bely and G. Bacovia. The author also traces the features of symbolist poetics characteristic of both lyricists – the outstanding representatives of Russian and Romanian symbolism. The author compares the poems “The flying forest sings...” by A. Bely and “Pastel” by G. Bacovia, dedicated to the parting of lyrical characters, to love that is going away. These works reveal the main levels of artistic unity: image system, space-time continuum, lyrical situation, features of poetics and melody. An attempt has been made to translate the poem “Pastel” by G. Bacovia into the Russian language. The relevance of the research is determined by the lack of works devoted to the comparative analysis of Russian and Romanian symbolism, in particular, the lyrics of Andrei Bely and George Bacovia. The creativity of these poets finds its origins in French symbolism and at the same time has a bright individual character. The purpose of the article is to reveal the artistic originality of the worldview of two outstanding representatives of European symbolism, to trace the specific features of covering the theme of love in their works, taking the comparative analysis of A. Bely’s poem “The flying forest sings” and G. Bacovia’s poem “Pastel” as an example. The comparative analysis is the main method of research, it allowed to make a conclusion about the dramatic but bright nature of love in A. Bely’s poem and its pessimistic embodiment in G. Bacovia’s poem. Some conclusions are drawn about the similarities and differences in the image of the lyrical situation, the system of images, the space-time plan, colour values, composition, the ideological content, as well as the melody, rhythmic structure and meter.

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Suzanskaya, T. N. "SYMBOLISTS ANDREY BELY AND GEORGE BACOVIA: COMPARISON OF LOVE POEMS." Russian Journal of Multilingualism and Education 12 (December 25, 2020): 109–17. http://dx.doi.org/10.35634/2500-0748-2020-12-109-117.

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The article discusses artistic features of the lyrical poems by A. Bely and G. Bacovia. The author also traces the features of symbolist poetics characteristic of both lyricists – the outstanding representatives of Russian and Romanian symbolism. The author compares the poems “The flying forest sings...” by A. Bely and “Pastel” by G. Bacovia, dedicated to the parting of lyrical characters, to love that is going away. These works reveal the main levels of artistic unity: image system, space-time continuum, lyrical situation, features of poetics and melody. An attempt has been made to translate the poem “Pastel” by G. Bacovia into the Russian language. The relevance of the research is determined by the lack of works devoted to the comparative analysis of Russian and Romanian symbolism, in particular, the lyrics of Andrei Bely and George Bacovia. The creativity of these poets finds its origins in French symbolism and at the same time has a bright individual character. The purpose of the article is to reveal the artistic originality of the worldview of two outstanding representatives of European symbolism, to trace the specific features of covering the theme of love in their works, taking the comparative analysis of A. Bely’s poem “The flying forest sings” and G. Bacovia’s poem “Pastel” as an example. The comparative analysis is the main method of research, it allowed to make a conclusion about the dramatic but bright nature of love in A. Bely’s poem and its pessimistic embodiment in G. Bacovia’s poem. Some conclusions are drawn about the similarities and differences in the image of the lyrical situation, the system of images, the space-time plan, colour values, composition, the ideological content, as well as the melody, rhythmic structure and meter.

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Storcheus, S. V. "Colour symbolism in the African American detective fiction of W. Mosley." Science and Education a New Dimension VI(150), no. 43 (February 20, 2018): 56–58. http://dx.doi.org/10.31174/send-ph2018-150vi43-14.

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Tao, Wang. "Shang ritual animals: colour and meaning (part 2)." Bulletin of the School of Oriental and African Studies 70, no. 3 (October 2007): 539–67. http://dx.doi.org/10.1017/s0041977x07001036.

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AbstractFollowing on from Part 1 of this article (BSOAS 70/2, 305–372), Part 2 continues to examine the use of colour in different diviner groups, but focuses on the groups belonging to the non-kings' school. It also includes the newly discovered inscriptions from the eastern section of Huayuanzhuang in Yinxu. The exercise of colour preference in the non-kings' school is similar to that seen in the kings' school, but reveals an even broader interest. By looking at the context in which each colour was used, we can detect the process of a colour system working in Shang rituals. The final section of the paper provides a cross-cultural comparison of Shang colour symbolism which had a profound influence on the late wuxing theory.

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Чернецька, Н. В. "Colour names in the structure of phraseological units in Spanish and Ukrainian." Studia Philologica, no. 10 (2018): 29–33. http://dx.doi.org/10.28925/2311-2425.2018.10.4.

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Phraseological units which include colour names in Spanish language are investigated. The author analyses how color terms may influence on the total meaning of a phraseological unit. The article deals with the national cultural component “colour” in the phraseological units in Spanish language. The subject of the research determines the application of the comparative method. In this connection we use the linguistic facts of some national variants in Spanish language as well as in Ukrainian language. The results of the article confirm the forming of the national symbolism of colour in Spanish under the influence of the extralinguistic factors, transforming the colour into the national cultural component. The research materials and results can be applied in the sphere of such contiguous disciplines as intercultural communication, linguistics, translation theory and practice, studying Spanish by Ukrainian-speaking students, as well as in writing test books and other teaching material on lexicology. Research of colour names in Spanish language with its comparison with Ukrainian colour names shows that phraseological units with colour names are characterized with some similarity. Phraseological knowledge facilitates the reading of political essays as well as works of literature. The process of thinking in the educational progress cannot be overrated. In this learning the images are the material for solving the tasks. These images are phraseological units with colour names. They are the means of figurative images of ambient reality and simultaneously they enrich the intellect and spiritual inner awarenesses of an individual.

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Olshanska, O. O. "SYMBOLISM OF COLOUR EPITHETS IN MARYNA BRATSYLO’S COLLECTION “FOUR SEASONS OF LOVE”." Collection of scientific works "Visnyk of Zaporizhzhya National University. Philological Sciences" 2, no. 1 (2020): 143–48. http://dx.doi.org/10.26661/2414-9594-2020-1-2-19.

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Hunt, David, and Robert Chenciner. "Colour symbolism in the folk literature and textile tradition of the Caucasus." Optics & Laser Technology 38, no. 4-6 (June 2006): 458–65. http://dx.doi.org/10.1016/j.optlastec.2005.06.009.

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Bradley, Mark. "Colour and marble in early imperial Rome." Cambridge Classical Journal 52 (2006): 1–22. http://dx.doi.org/10.1017/s1750270500000440.

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The proliferation of white and coloured marbles in Rome and the provinces has received detailed attention from archaeologists, and the symbolism underlying the use and distribution of these marbles has been discussed at length by art historians. In addition, there are now several important catalogues of ancient Roman marbles. Their stones are presented attractively in full glory, using state-of-the-art printing technology, page after page of dazzling colour. In case the full extent of the polychromy is lost on the reader, descriptions and labels (particulary those coined in nineteenth-century Italy) reinforce this vivid connection between stone and colour - ‘giallo antico’, ‘rosso antico’, ‘porfido’, ‘scisto verde’, ‘nero antico’, ‘marmo bianco’, ‘greyish-blues’, ‘black limestone’, ‘dazzling white’, ‘rot’, ‘gelb’, ‘violett’. It is a very simple exercise for us to align colour and stone.

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Mikheev, Eduard. "Colouristic Analysis of Russian Orders." Scientific and analytical journal Burganov House. The space of culture 15, no. 3 (September 10, 2019): 75–87. http://dx.doi.org/10.36340/2071-6818-2019-15-3-75-87.

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In addition to the symbolism, compositional laconism and colour palette are important for the visual perception of an order. The combination of colours is the first thing perceived by the human eye. This article offers an analysis, based on colour science and colouristics, of the colours and their combinations used to create orders. The work examines three periods of the Russian order: the Russian Empire, the Soviet Union, and modern Russia. Gold, silver, platinum, and sometimes copper are used in the manufacture of orders. Each of these metals has its own colour: gold is golden yellow, silver and platinum are of silver-grey colour, and copper is golden pink. The colour of the enamel may be ruby red, white, blue, grey, black and green. All orders are divided into four groups. Orders for which only one colour is used are in the first group. These are orders made of one type of metal without the use of enamel. The second group includes awards to which, in addition to the base metal, enamel or the second metal is added. Orders consisting of three colours are in the third group; orders with four colours or more are in the fourth group. An order which is made using only ruby red enamel can be considered an example of a good and concise combination. The classic combination of the silver-grey metal with red enamel works very well. The yellow colour of the metal matches with the red one, creating a bright festive palette. The same as the combination of the saturated and the neutral, the golden yellow goes well with the silver-grey. In addition to the base metals, such as silver and enamel, gilding is used in other awards. As a rule, red is dominant in such orders; some elements are gilded but the silver-grey colour balances the bright combination of red and golden. The next category of orders with four or more colours can be divided into two subgroups. The first subgroup includes orders with one or two dominant colours whereas orders with four or more colours, distributed relatively evenly, are in the second one. Having analysed the orders of the three historical periods of Russia, the following conclusions can be drawn: the royal orders are more conservative, the most interesting colour combinations are from the Soviet era, the modern awards have largely lost the experience of previous generations.

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Gage, John. "What Meaning had Colour in Early Societies?" Cambridge Archaeological Journal 9, no. 1 (April 1999): 109–26. http://dx.doi.org/10.1017/s0959774300015237.

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Colour is one of the most prominent features of human experience, but has often been ignored or overlooked in archaeological research. All practising archaeologists are aware of the colour of the materials which they handle — be they stone artefacts, painted pots, prehistoric monuments (frontispiece) or historical buildings. Yet all too frequently these items are robbed of their colour when they are published as black and white photos, abstract plans or reductionist line drawings. Equally discouraging is the fact that original colours are frequently missing or faded, removed by the passage of centuries. We know, for example, that the famous marble Cycladic figurines were originally brightly painted, but few traces of colouring survive. Yet such traces are enough to alert us to the radical transformation which colour could bring to old and faded remains.In this Viewpoint feature we have invited a range of specialists to consider the meaning of colour in early societies. The intention has been to focus on those societies where evidence of colour is not so readily apparent. Egyptian art and Palaeolithic caves have their place in this debate, but we are also interested in the selection of stones of particular colours for tools or structures, and for the use of colour in textiles; areas in which almost all early societies must have been engaged.The meaning of colour may be approached at a variety of levels. In literate societies, or those with a rich and detailed iconographic tradition, it may be possible to explore the particular significance of different colours in myths or rituals. Such understanding is more difficult in the case of prehistoric societies, yet even here we can gain some insight into colour symbolism by careful consideration of context, or by cautious appeal to common human experience. Context may suggest that red ochre in burials equates with blood, common experience that yellow is associated with the sun, and blue with the sky or the sea. The value accorded to particular colours can also be indicated by the workmanship and finish which objects received, and the distances that materials travelled: polished jadeite from the Alps to Scotland, or lapis lazuli from Afghanistan to Mesopotamia.As the following articles demonstrate, all societies are concerned about colour, and such concern can be traced back to at least the Upper Palaeolithic, if not before. To what extent particular colours, such as red or black, have cross-cultural significance, is an altogether more difficult question. Colour awareness and colour sensitivity must however be an integral part of any archaeological analysis concerned with the development and nature of human cognition.

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GOLDBERG, HARRIET. "Reappraisal of Colour Symbolism in the Courtly Prose Fiction of Late - Medieval Castile." Bulletin of Hispanic Studies 69, no. 3 (July 1992): 221. http://dx.doi.org/10.3828/bhs.69.3.221.

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YILDIRIM, Ceren. "RENGİN ARKEOLOJİSİ–KIRMIZININ SİMGE TARİHİ/Archeology Of The Colour–A History Of Red Symbolism." International Journal of Interdisciplinary and Intercultural Art 3, no. 3 (2017): 1–15. http://dx.doi.org/10.29228/ijiia.3.26.

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Goldberg, Harriet. "A Reappraisal of Colour Symbolism in the Courtly Prose Fiction of Late-Medieval Castile." Bulletin of Hispanic Studies 69, no. 3 (January 2, 1992): 221–38. http://dx.doi.org/10.1080/1475382922000369221.

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Harris, Stephanie J. "FROM RIVER WEEDS TO REGAL FABULOUS: ICONOGRAPHY AND SYMBOLISM OF A 12TH DYNASTY EGYPTIAN DIADEM." Journal for Semitics 25, no. 1 (May 9, 2017): 253–83. http://dx.doi.org/10.25159/1013-8471/2537.

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Ancient Egyptian women’s headdresses in the form of circlets, fillets and diadems are intriguing in their complexity. In response to the increased need to indicate social status in a poorly literate dynastic society, these items of personal adornment became a powerful form of non-verbal communication. Garlands, originally made from handfuls of river plants, gradually developed into innovative and imaginatively powerful visual symbols when fashioned from metal and a variety of semi-precious stones. Botanical motifs symbolic of the Nile River and the duality of a unified Sema Tawy (Two Lands) were incorporated into magical and superstitious symbolism that encompassed social, political, religious, mythological and amuletic contexts. The headdresses that were worn were not purely ornamental but, it was believed, also provided apotropaic protection for the head. Flower motifs, material and colour played an important role in their belief system. The iconography and symbolism incorporated into a delicately crafted gold wire diadem excavated from Princess Khnumet’s 12th Dynasty (Middle Kingdom) tomb at Dashur (and currently housed in the Cairo Museum) will be systematically interpreted at primary and secondary levels in order to provide some insight into its owner. Given the relationship between form and function, a novel connection has been proposed between the iconography and symbolism, and the diadem’s use during an annual Nile inundation cultic festival.

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Morley, Catherine. "Willa Cather and Dutch Golden Age Painting." Modernist Cultures 11, no. 1 (March 2016): 118–36. http://dx.doi.org/10.3366/mod.2016.0128.

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This essay argues that the American regionalist writer Willa Cather was deeply influenced by Dutch Golden Age painters in the compositional strategies of her short stories. Looking at Cather's ‘Coming, Aphrodite!’ (1920), the essay examines the geometric composition of the work, the orthogonal planes used throughout it, and the symbolism of the story to argue that it offers a self-conscious visual experience. The essay makes the case that Cather's transcultural and trans-generic experimentation lifts her literary reputation from the ‘local colour’ or regionalist demarcation and sets her firmly among her modernist peers.

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Ogbujah, Columbus N. "Colourism, Ethnicism and the Logic of Domination in 21st Century Nigeria." Dialogue and Universalism 31, no. 1 (2021): 23–39. http://dx.doi.org/10.5840/du20213113.

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The 2016 launch of the courier giant—Dalsey, Hillblom, and Lynn’s (DHL) Advanced Regional Centre (ARC) in Singapore—was significant not just for the scale of the facility and its impressive level of innovation, but for the visual identity and branding of DHL’s red and yellow corporate colours. These colours, as is evident in all branding, set it out from the rest, and have become a symbol of power and domination. This resonates with the use of colour categories to isolate human beings into unjust classes that manifest divisive social and racial hierarchies. The symbolism of colourism and ethnicism viewed either plainly or as metaphors, lies in the “othering” of fellow human beings for discrimination and scapegoating. The markers are the same, whether in the case of George Floyd or the victims of discrimination and/or recurrent massacres in Nigeria. This essay explores how, by creating a visible barge of “otherness,” the current political leadership either shirked responsibility in the face of discriminations, or contrived excuses for the endless massacre of minorities in Nigeria.

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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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Kuveždić Divjak, Ana, and Miljenko Lapaine. "Crisis Maps—Observed Shortcomings and Recommendations for Improvement." ISPRS International Journal of Geo-Information 7, no. 11 (November 7, 2018): 436. http://dx.doi.org/10.3390/ijgi7110436.

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Cartographic communication through crisis maps takes place in a unique environment characterised by the immediate risks of considerable loss and stress. Many such maps are designed by practitioners with limited resources, pressured for time, and who often fail to pay the necessary attention to map graphics. This can reduce map clarity and make orientation to and understanding of essential crisis information difficult. To identify the most frequent shortcomings that may compromise the interpretation of depicted objects, phenomena presented, and actions required, we assessed the map graphics of 106 maps specifically designed for communication and action in crises. The results showed that they were often visually overloaded. Crisis data were not conveyed by appropriate cartographic representations, and due to the inappropriate use of visual variables, the associative and selective properties of cartographic symbols were overlooked, and their ordered and quantitative features ignored. The use of colour was often not adapted to conventional visual language, and colour symbolism was not always taken into account. The cartographic symbols used were often incomprehensible, illegible, ambiguous, and unclassified, and they lacked symbolism and hierarchical organisation. The article aims to address these problems by proposing guidelines which do not require much time or expertise, but which would ensure that cartographically correct crisis maps are well designed. Objects, phenomena or actions specific to crisis management would be indicated using appropriate map graphics and their importance highlighted, so as to make interpretation easier for all participants in a crisis event, and so facilitate crisis communication and response.

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Motsamayi, Mathodi Freddie. "Cattle culture and colour symbolism as reflected in selected artworks of Sotho-Tswana in South Africa." South African Journal of African Languages 40, no. 3 (September 1, 2020): 297–307. http://dx.doi.org/10.1080/02572117.2020.1855723.

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Titarenko, S. D. "Visual image in the aesthetics of Alexander Blok: phenomenology problems." Solov’evskie issledovaniya, no. 3 (September 30, 2020): 93–106. http://dx.doi.org/10.17588/2076-9210.2020.3.093-106.

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The article is dedicated to the insufficiently studied problem of the visual image that was formed in the creative aesthetical discourse of Alexander Blok. His articles “Colours and Words” (1905), “Works of Vyacheslav Ivanov” (1905), “About the Present Condition of the Russian Symbolism” (1910), “In Memory of Vrubel” (1910) and also exhibition overviews are considered in the article. The main task of the research is to reveal that the visual image is a way to represent thoughts of symbolist poet, and it is also a model of visual perception, which is characteristic for the modernist culture. The analysis methods are receptive criticism, intermediality and phenomenology of E. Husserl and M. Merleau-Ponty. The reasons why Alexander Blok paid close attention to the works of such painters as A. Böcklin, M. Vrubel, V. Kandinsky and others are analysed in the article. The examples demonstrate how the principles of Italian painters (Fra Angelico, Giovanni Bellini, Leonardo da Vinci) reflected in his aesthetics. It is indicated that the visual image in Blok’s articles is symbolic and metaphysical representation of the aesthetic idea. Blok uses various types of unclassical ecphrasis that have a function of visual codes. Moreover, he creates a type of “fictitious” ecphrasis as a “landscape of consciousness” and uses linguistic contamination. The conclusion is made that the new understanding of art emerges in Blok’s aesthetics, which was characteristic for modernist poetics of the beginning of the XX century. The function of the visual image is representation of symbolic forms (space, colour, composition, things, nature, body dynamics) as phenomena of consciousness and ways to express ideas.

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Kang, Eun Jung. "Blue or pink? That is the question: Homophobia and its influence on the gendering of colour symbolism." Clothing Cultures 1, no. 3 (October 1, 2014): 289–302. http://dx.doi.org/10.1386/cc.1.3.289_1.

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Brown, Douglas. "Colour and Meaning:99325John Gage. Colour and Meaning: Art, Science and Symbolism. London: Thames & Hudson 1999. 320 pp., ISBN: 0 500 23767 0 £32.00." Reference Reviews 13, no. 6 (June 1999): 29–30. http://dx.doi.org/10.1108/rr.1999.13.6.29.325.

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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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Drysdall, D. L. "An Early Use of Devices: René Bertaut de la Grise, La Penitence Damour." Renaissance Quarterly 38, no. 3 (1985): 473–87. http://dx.doi.org/10.2307/2861080.

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In the period before Claude Paradin's Devises Héroïques (1551) and Paolo Giovio's Dialogo dell'Imprese (1555), our knowledge of the theory and use of devices is somewhat fragmentary. There are some well known cases: Maurice Scève's use of devices as a framework for his Délie, though he called them “emblesmes“; Rabelais’ device for Gargantua consisting of the Platonic androgyne with the motto “Charity seeketh not her own“; Erasmus's figure of Terminus and “Concedo nulli”. The author of the little known French version of the Penitencia de amor was probably concerned mainly with the religious and moral ideas which he develops at some length in his adaptation, but his second interest is clearly the fashion for devices, which he introduces and uses, together with some extensive colour symbolism, apparently to enhance the impact of his didactic additions.

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Blair, Sheila S. "Artists and patronage in late fourteenth-century Iran in the light of two catalogues of Islamic metalwork." Bulletin of the School of Oriental and African Studies 48, no. 1 (February 1985): 53–59. http://dx.doi.org/10.1017/s0041977x00026951.

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Islamic metalwork has in recent years been the subject of several important new publications. James W. Allan has written a lavishly illustrated guide to a recently acquired private collection whose pieces attest to the high quality of objects available to the discriminating collector. The 27 pieces span the variety of wares produced in the medieval Islamic world: bowls, ewers, candlesticks, inkwells, incense burners, and other objects produced in Egypt, Syria, the Jazira, Iran, and India from the tenth to the seventeenth century. Multiple photographs in both colour and black and white accompany a lengthy discussion of each piece. In the introduction the author offers a brief summary of the Islamic metalware tradition (its origins, expansion, and decline) and discusses the symbolism inherent in its decoration, particularly the imagery of light and darkness and the sun.

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Kulichenko, Yulia Nikolaevna, and Ekaterina Mikhailovna Korolevskaya. "Green Colour Symbolism in Phraseological Worldview: Comparative Aspect (by the Material of the Russian, English, German and Italian Languages)." Filologičeskie nauki. Voprosy teorii i praktiki, no. 8 (August 2020): 262–65. http://dx.doi.org/10.30853/filnauki.2020.8.49.

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ERDOGU, BURCIN, and AYDIN ULUBEY. "COLOUR SYMBOLISM IN THE PREHISTORIC ARCHITECTURE OF CENTRAL ANATOLIA AND RAMAN SPECTROSCOPIC INVESTIGATION OF RED OCHRE IN CHALCOLITHIC ÇATALHÖYÜK." Oxford Journal of Archaeology 30, no. 1 (January 26, 2011): 1–11. http://dx.doi.org/10.1111/j.1468-0092.2010.00356.x.

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Maconie, Robin. "DIVINE COMEDY: STOCKHAUSEN'S ‘MITTWOCH’ IN BIRMINGHAM." Tempo 67, no. 263 (January 2013): 2–18. http://dx.doi.org/10.1017/s0040298212001027.

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AbstractChildhood play, leadership, suspense, thoughts of mediation and conciliation, Hamlet-like reflections on being and not-being, facing and conquering fears, and a hunger for stability and security in personal relationships, together with a full panoply of riffs on the colour yellow in European popular culture – many of them frankly unpleasant – are among the challenging ingredients of Stockhausen's Mittwoch aus LICHT, the last segment of the seven-opera LICHT jigsaw to be put in place. Stockhausen's operas are intricate literary puzzles or charades, every detail of which can be assigned a number of coded meanings. Despite bravura performances by an exceptional team of musicians, Graham Vick skated over much of the composer's uneasy symbolism in a brusque and simplistic arte povera production which, along with a battery of unsolved sound projection issues inherent in the score, placed altogether too much emphasis on the composer's dark side.

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Kaye, N. R., A. Hartley, and D. Hemming. "Mapping the climate: guidance on appropriate techniques to map climate variables and their uncertainty." Geoscientific Model Development 5, no. 1 (February 17, 2012): 245–56. http://dx.doi.org/10.5194/gmd-5-245-2012.

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Abstract. Maps are a crucial asset in communicating climate science to a diverse audience, and there is a wealth of software available to analyse and visualise climate information. However, this availability makes it easy to create poor maps as users often lack an underlying cartographic knowledge. Unlike traditional cartography, where many known standards allow maps to be interpreted easily, there is no standard mapping approach used to represent uncertainty (in climate or other information). Consequently, a wide range of techniques have been applied for this purpose, and users may spend unnecessary time trying to understand the mapping approach rather than interpreting the information presented. Furthermore, communicating and visualising uncertainties in climate data and climate change projections, using for example ensemble based approaches, presents additional challenges for mapping that require careful consideration. The aim of this paper is to provide background information and guidance on suitable techniques for mapping climate variables, including uncertainty. We assess a range of existing and novel techniques for mapping variables and uncertainties, comparing "intrinsic" approaches that use colour in much the same way as conventional thematic maps with "extrinsic" approaches that incorporate additional geometry such as points or features. Using cartographic knowledge and lessons learned from mapping in different disciplines we propose the following 6 general mapping guidelines to develop a suitable mapping technique that represents both magnitude and uncertainty in climate data: – use a sensible sequential or diverging colour scheme; – use appropriate colour symbolism if it is applicable; – ensure the map is usable by colour blind people; – use a data classification scheme that does not misrepresent the data; – use a map projection that does not distort the data – attempt to be visually intuitive to understand. Using these guidelines, we suggest an approach to map climate variables with associated uncertainty, that can be easily replicated for a wide range of climate mapping applications. It is proposed this technique would provide a consistent approach suitable for mapping information for the Fifth Assessment Report of the Intergovernmental Panel on Climate Change (IPCC AR5).

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ALUKO, Oluwasegun Peter, and Adenike Oluwabukola IREYOMI. "Colour Symbolism in a Nigerian Church: The Case of Prophet/Evangelist Abiodun Oladele of the Overcomers‟ Evangelical Ministries International (Ori-Oke Asegun)." International Journal of Research and Innovation in Social Science 04, no. 11 (2020): 198–202. http://dx.doi.org/10.47772/ijriss.2020.41102.

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Journal articles on the topic 'Colour symbolism'

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