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Journal articles on the topic 'Symbolism of colors'
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1
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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Kovsh, Oleksandr, and Mykyta Dziuba. "Symbolism of Color in Cinema." Bulletin of Kyiv National University of Culture and Arts. Series in Audiovisual Art and Production 5, no. 2 (December 22, 2022): 207–15. http://dx.doi.org/10.31866/2617-2674.5.2.2022.269532.
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The purpose of the research is to analyze the perception of color by the viewer and to establish the role of the color score in the structure of the film, to determine the symbolism of the main colors in the fabric of the film. To achieve this goal, the following tasks are outlined: to establish the role of color in building the character and image of the character; to prove the importance of the ability to build and harmoniously organize the color scheme in the use of a monochromatic color system; to consider the role of color and its symbolism on specific examples. The research methodology consists of the application of the following methods: theoretical – for the analysis of films, and informative sources; generalization of the different colors’ influence on the general association of perception, the formation of subjective perception of scenes with the dominance of a certain color from the chromatic range; structural and functional, which consists in the isolation of color as a separate element from the integral fabric of the film and determining its function in the construction of characters, creating dramatic tension, etc. The scientific novelty is that the role of certain colors is analyzed in the example of modern projects, and a detailed analysis of the selection of colors depending on certain tasks in various scenes is carried out; with the help of theoretical analysis, the factors that influence the general impression of the viewer are determined. Thus, work was carried out on the collection and systematization of theoretical material on the topic and an attempt was made to apply theoretical concepts in practice. Conclusions. In the course of the article, we have analyzed the ambiguity of colors, the use of color combinations with sound, with other colors of the chromatic range. The role of color in conveying symbolism, associations, and the significance of changes in perception has been determined by analyzing films.
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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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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): 121–33. http://dx.doi.org/10.53542/jass.v3i1.1045.
Full textAbstract:
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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Valev, Teodor. "TRADITIONAL CHINESE COLOUR SYMBOLISM – MEANING AND UNDERSTANDING." Diplomatic, Economic and Cultural Relations between China and Central and Eastern European countries 8 (April 1, 2023): 475–94. http://dx.doi.org/10.62635/vwjc-0h90.
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The article considers the concept of “colour” from a psychological point of view and addresses the topic of the “Five Elements Theory” which is directly related to the five main colours in China – fire/red, yellow/earth, white/metal, blue/wood, and black/water. Then each colour is considered separately (including some additional colors like green, purple and gold), it’s perception and symbolism in Chinese culture from the past until now. Finally the author dwell on the meaning of some of these colors and their use in Peking Opera.
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Phuyal, Komal Prasad. "Chromatic Symbolism in T. S. Eliot’s The Waste Land." BL College Journal 5, no. 2 (December 2023): 07–16. http://dx.doi.org/10.62106/blc2023v5i2e1.
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T. S. Eliot (1888-1965) employs colors to depict various shades of emotions of the post-World War I in Europe in his ‘The Waste Land’ (1922). On the one hand, the poetic treatment of colors indicates the plight of the world; on the other, the colors embody the myths of the ancient world and help deepen the meaning of the text. The poetic genius employs Tiresias as the persona who can travel through time and space bringing together different hues of the world into a single collage. Eliot’s choice of color reveals to the modern audience the deeper schema that he builds to represent the devastated state of Europe after World War I. Having lived the life of both a woman and a man, the protagonist has been blessed with the power to foresee things despite his blindness. The seer weaves a garland of colors in ‘The Waste Land’ to represent the damage the War had in the soul of the people, in the value system of the society, and in the changing socio-political reality of the time. In this paper, I contend that Eliot uses color symbolism in the poem to enforce the modernist ethos of the fragmented world where the lynchpins are missing. Through close reading of the text, I analyse the language to arrive at the conclusion that Eliot’s use of colors reveals a whole, new spectrum of meanings.
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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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Kang, Soo-Won. "A Study on the Color Image of Heo Soo-kyeong’s Poetry: Focused on the Aspect of Mixture and Entanglement of Black and White color." Dongnam Journal of Korean Language and Literature 54 (November 30, 2022): 5–25. http://dx.doi.org/10.21654/djkll.2022.54.1.5.
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Black and white in Heo Soo-kyeong's poetry reveal unique color symbolism in a way of repetition and reversion. This aspect deepens and expands the emotion and the subject consciousness, which forms her own distinct poetic aesthetics. Furthermore, the black and white color images in her poems display an Assemblage effect, forming mixed and entangled aspects in one work. This is a new possibility created by a combination of disparate elements, a further level of thinking from the conventional wisdom that the two colors indicate an opposing single network of meanings in different works.
In the case where the two color images are mixed and entangled in a single work, in Heo Soo-kyeong's poem, there appears two aspects of confrontation and coessentiality in the meaning of the subject consciousness. First of all, the two colors appear as opposing color images, which assumes the symbolism that schematizes the power structure of the strong and the weak. However, the meaning of these two colors can be interchangeable, not being fixed as an opposite between good and evil or strong and weak and, thereby presenting the poet's flexible way of thinking.
On the other hand, in the case where the two color reveal coessential color images, they assume two aspects, negative coessentiality and positive coessentiality. In other words, both black and white reveal negative coessentiality by maximizing the emotion of sadness and depression, or positive coessentiality by aspiring after a world of purity and peace. This pattern deviates from the conventional wisdom that regards white and black as opposite colors, which is a point that reveals Heo Soo-kyeong's distinct sense of color.
In this light, the color images of black and white forms deeper and richer semantic network when they appear to be mixed and entangled in one work than when used solely. This is the result of the poet's expanded creative imagination for the symbolism of color images, and it can be interpreted as the expression of multidimensional and fluid color aesthetics and securing new possibilities for color symbolism through the interaction of black and white.
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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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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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Вэй, Ц. "Symbolism of Color in Chinese Traditional Opera: Religious and Philosophical Origins and Meaning of Images." Nasledie Vekov, no. 3(35) (September 30, 2023): 116–25. http://dx.doi.org/10.36343/sb.2023.35.3.008.
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Статья посвящена анализу символики цвета в китайской традиционной опере, осуществляемому посредством описания и систематизации значений, которые придаются различным цветам в теории пяти элементов (у-син) и в других мировоззренческих системах. Материалами стали работы китайских и российских авторов, посвященные специфике театрального искусства и национальной культуры Китая. Изучены коннотативная семантика цвета и религиозно-философские истоки, повлиявшие на формирование цветовой палитры традиционной оперы. С учетом региональной специфики выявлено значение цвета в создании образов персонажей китайской оперы. Установлено, что в различных видах оперы символика цвета значительно отличается из-за региональных культурных особенностей, а также эстетических и религиозно-философских традиций Китая. Подчеркивается, что символическое значение цвета в китайской опере не может быть абсолютно понятным без глубокого анализа контекста и комплексного рассмотрения всех элементов костюма и грима. The author aims to comprehensively analyze the symbolism of color in Chinese traditional opera by describing and systematizing the meanings attached to certain colors and their shades. The materials of the study were works by Chinese and Russian authors on the formation and development of traditional Chinese opera, various elements of performance, for example, makeup, masks, costumes, etc. The study uses semantic, iconographic, hermeneutical, historical, artistic and comparative methods. The author considers the symbolic meaning of primary colors and color shades used in productions of Chinese traditional opera and comprehensively analyzes the meaning of color in it: based on examples borrowed from the history of national culture, identifies images with which these colors were associated. In addition to the five primary colors associated with the five primary elements of the wu-xing system, later additions to the color spectrum are highlighted, which include green, blue, violet, brown and orange. The author explores the religious and philosophical origins of color semantics in Chinese culture, reveals the importance of color in creating images of Chinese opera characters taking into account regional specifics. The imprint of Chinese philosophical and religious concepts is clearly visible in the color compositions of the traditional opera. The system of five elements of wu-xing and the concept of yin-yang set the connotational basis for color combinations and their meanings in costumes, masks, and makeup of Chinese traditional opera. The author emphasizes that the canonical colors for a particular character give the viewer the opportunity to determine their social status, character, and predict the development of the opera’s plot. The colors of a character’s makeup and costume in Chinese traditional opera symbolize their character traits and allow judging their morality. The author points out that Chinese culture developed under the influence of different philosophical and religious movements, so colors can be perceived differently in the cultural context of these ideological systems. Regional culture had a strong influence on the development of color symbolism in Chinese opera; in different regions and operatic traditions, the same color can create different images. The author concludes that the symbolic meaning of color in Chinese opera cannot be absolutely clear without a deep understanding of color symbolism in Chinese culture, analysis of the context, and a comprehensive consideration of all elements of costume and makeup.
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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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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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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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Umarqulova, Maxliyo. "LEARNING AND RESEARCHING THE CULTURAL ENVIRONMENT OF THE LANGUAGE BY USING COLOR RELATED WORDS." QO‘QON UNIVERSITETI XABARNOMASI 10, no. 10 (March 30, 2024): 141–43. http://dx.doi.org/10.54613/ku.v10i10.933.
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This article delves into the intricate relationship between language and culture through the lens of color-related words. It provides an in-depth exploration of how different cultures perceive and articulate colors, uncovering the rich tapestry of meanings, associations, and symbolism embedded within linguistic expressions of color. Drawing on interdisciplinary research from linguistics, anthropology, psychology, and semiotics, the author examines how cultural norms, historical contexts, and societal factors influence the use and interpretation of color-related language. Through a systematic review of linguistic data and cultural artifacts, the article elucidates the diverse ways in which colors are conceptualized and employed across various linguistic communities. It sheds light on the cultural significance attached to specific colors, uncovering underlying narratives, beliefs, and rituals that shape color perception and usage. Furthermore, the article analyzes cross-cultural differences and similarities in color categorization, highlighting the role of language as a reflection of cultural values and worldview.
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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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Pasko, Ellina. "To the Question on Origin of Color Symbolism in the Novel “Petersburg” by A. Bely." Stephanos Peer reviewed multilanguage scientific journal 54, no. 4 (July 31, 2022): 117–25. http://dx.doi.org/10.24249/2309-9917-2022-54-4-117-125.
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The article attempts to fi nd the origin of color symbolism in the novel “Petersburg” by A. Bely. The meaning of colours is interpreted in the context of color theories of J. Goethe and R. Steiner, who infl uenced Bely’s worldview. There is one aspect, which stands out in the study of writer’s work, and this aspect is picturesqueness, more precisely, coloristics. The features of the use of color in the novel “Petersburg” are compared with the requirements for the color design of the picture, which are put forward by V. Kandinsky in the treatise “On the Spiritual in Art”. The basis for this comparison was the general literary and pictorial sources, equally relevant for both Bely and Kandinsky. The result of the study was determination of the functions and meaning of the most frequently used colors in novel “Petersburg” in their correlation with the subject and the hero, as well as the episode, the leitmotif, and ultimately – with the author’s position.
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Dugerjav, Badamdorj. "“Монголын нууц товчоо” дахь өнгө, зүсэм нэрлэсэн үгсийн утга." Монгол судлал 46, no. 1 (2022): 5–14. http://dx.doi.org/10.22353/ms20224601.
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The research work is done through specifically selecting the Secret History of the Mongols and researching mentality, cognition and linguistic interdependence of the 13th century literature of Great Mongolian Empire on the basis of the cognitive semantics objective. Mongolians are people with a unique national identity who express the semantics meaning of the complexion and coat colors of human, animal and things on their own peculiarity. According to the author's research and observation, it is referred that the White and Bright color indicates respect, well-being, and positive value of intensity, while Black and Dark color the war, reckless actions, and negative value of intensity. As a rule, the meaning expressed by complexion and coat color manifested in the symbolism elements of Mongolians is the interdependence of mentality, cognition and language expression of Mongols. It is mentioned on the fact that white, blue, and yellow colors have positive intensity meaning, but black, red and brown colors indicate negative intensity meaning respectively.
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Jain, Jaya. "PHILOSOPHICAL ROLE OF RANGO IN JAINISM." International Journal of Research -GRANTHAALAYAH 2, no. 3SE (December 31, 2014): 1–5. http://dx.doi.org/10.29121/granthaalayah.v2.i3se.2014.3599.
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Rango has its own unique world. 'Rang' gives meaning to words, objects and reflects them. Only through colors, the properties and expressions of words, words can be easily understood. The color itself holds many meanings. In the absence of colors, the painting ceases to exist. Color is an important means of expressing emotions. It is necessary to take special care of stone characters in sculpture as well. The religious area also could not remain untouched by the symbolism of colors. Philosophical sentiments are also expressed in Jainism through the symbolism of Rango. Color is a unique pool of many emotions. Five colors have predominated in Jainism. White, red, yellow, blue or green, black. These three main colors are also red, blue and yellow. Different colors are formed by different proportional mixtures of these. These colors also have a prominent place in the fields of happiness, prosperity and medicine.In the picture book of Vishnu Dharmottara Purana, there are five main colors of white, red, yellow, blue and black. The importance of these five colors is in the character of Panchaparmeshthi varna, Tirthankar varna, hetleshya and flag. These five colors have contributed significantly to our internal and external development.
रंगो का अपना अनूठा संसार अपनी भाषा होती है। ‘रंग’ शब्दों, वस्तुओ को अर्थ प्रदान कर उन्हे प्रतिबिम्बित करते है। रंगो के द्वारा ही वस्तु, शब्दों के गुण व भावों को आसानी से समझा जा सकता है। रंग अपने आप में अनेक अर्थो को समाये रहता है। रंगों के अभाव में चित्रकला का अस्तित्व ही समाप्त हो जाता है। भावों को व्यक्त करने का रंग महत्वपूर्ण साधन है। मूर्तिकला में भी प्रस्तर वर्ण का विशेष ध्यान रखना आवश्यक है।धार्मिक क्षेत्र भी रंगो की प्रतीकात्मकता से अछूता न रह सका। जैन धर्म में दार्शनिक भावनाओं को रंगो की प्रतीकात्मकता द्वारा भी व्यक्त किया है। रंग अनेक भावनाओं का अनूठा पुंज है। जैन धर्म में पांच रंगों की ही प्रधानता रही है। श्वेत, लाल, पीला, नीला या हरा, काला। लाल, नीला और पीला ये तीन प्रधान रंग भी है। इन्हीं के भिन्न-भिन्न अनुपातिक मिश्रण से अन्य रंग बनते है। इन रंगो का सुख, समृद्धि और चिकित्सा के क्षेत्र में भी प्रमुख स्थान है।‘विष्णु धर्मोत्तर पुराण के चित्र सूत्र में भी श्वेत, लाल, पीला, नीला व काला पाँच प्रकार के प्रमुख रंग बतायें है। पंचपरमेष्ठी वर्ण, तीर्थकर वर्ण, षट्लेश्या व ध्वज के वर्ण में इन्ही पाँच रंगो की महत्वता है। इन पांचो रंगो का हमारे आन्तरिक एवं बाह्य विकास में महत्वपूर्ण योगदान है।
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Woszczenko, Katarzyna. "Green Color of the Facades of Orthodox Churches of the Podlaskie Voivodeship in the Context of Sacred Architecture and Theology." Rocznik Filozoficzny Ignatianum 29, no. 3 (September 29, 2023): 131–50. http://dx.doi.org/10.35765/rfi.2023.2903.9.
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The purpose of this article is to present interdisciplinarily the connection between architecture and theology. The research was conducted using manuscript sources (inventory cards of architectural and construction monuments from the collections of the Provincial Monument Protection Office in Białystok), printed materials, as well as subject literature and internet sources. Photographic inventories of the sacred objects were carried out, as well as conversations with clergymen. The aim of the research was to verify the hypothesis that theology has a significant impact on shaping the architecture of Orthodox churches. Symbolism in the architecture of churches encompasses many aspects, including the color scheme of the facades. The Podlaskie Voivodeship has the largest number of Orthodox churches in Poland. These areas are associated with wooden architecture due to the easy availability of raw materials. The attribute of wooden Orthodox churches in this area is the variety of colors on their facades.
Colors have a rich theological symbolism that is often associated with the cult of saints. It is particularly visible in icons. The study covered seven green churches in the Podlaskie Voivodeship, in the towns of Anusin, Koźliki, Narew, Pasynki, Trześcianka, and Tyniewicze Duże. Among the studied objects, one is currently green, and the others had this feature in the past. The temples were described in terms of dating, plan shape, and facade color occurrence. The research showed a connection between the green color of the facade and its theological symbolism. An architect of an ideal temple analogous to those included in the study should combine the art of aesthetic design with the principles of theology. The synergy of architecture and theology is necessary in such objects, and thanks to it, they are beautiful.
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Иванченко, Светлана Анатольевна. "On Some Features of M. A. Voloshin’s Color Picture of the World and the Means of its Verbalization." Tomsk state pedagogical university bulletin, no. 1(225) (January 30, 2023): 95–102. http://dx.doi.org/10.23951/1609-624x-2023-1-95-102.
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Особый интерес М. Волошина к цветонаименованиям вызван как особенностью эпохи (Серебряный век), так и его увлечением не только поэтическим словом, но и в равной степени изобразительным творчеством. Цветовая картина мира стихотворений М. Волошина отличается многообразием колорем, передающих оттенки того или иного цвета, и необычностью создаваемых цветообразов, в которых обнаруживаются особенности восприятия автором мира. В статье приводятся результаты исследования семантики и символического значения частотных колорем, встречающихся в лирических текстах М. Волошина, данные анализа отдельных стихотворений, содержащих цветовую символику, для определения роли цветописи в понимании мировосприятия поэта и особенностей его творческой манеры. В ходе исследования использованы методы семантико-стилистического, контекстологического, мотивного анализа, позволяющие раскрыть особенности воплощения и значение цветовой картины мира М. Волошина. Многообразие цветового воплощения в лирике М. А. Волошина связано с особенностью мироощущения Волошина-художника, давшего себе установку «все формы, все цвета вобрать в себя глазами». Кроме того, на многоцветье его поэзии оказала влияние увлеченность поэта символистскими и импрессионистскими учениями. Цветопись, являясь одним из основных средств выражения авторских интенций, помогает передать тончайшие цветовые оттенки и символику в отражении чувств лирического героя. Наиболее частотные цвета, используемые М. Волошиным: красный в его многочисленных вариациях, золотой, серый, лиловый – часто содержат метафизическую символику. Для передачи цвета М. Волошин использует и лексемы, обозначающие растения (цветы), а также минералогические обозначения. Исследование лирических текстов М. Волошина с точки зрения использования в них колорем позволило сделать вывод о том, что цветовая картина мира поэта отличается богатством и разнообразием воплощений: красочные эпитеты, необычные метафоры, сравнения, синестетические образы, минералогические обозначения – это неполный список используемых автором средств и приемов. Значимость проведенного исследования заключается в отражении авторского мировосприятия через постижение заложенных в цветонаименованиях символических значений изображаемого. M. Voloshin’s special interest in color naming is caused both by the peculiarity of the era (Silver Age), and his passion not only for the poetic word, but also, equally, for fine art. The color picture of the world of M. Voloshin’s poems is distinguished by a variety of colors that convey shades of one color or another, and the unusualness of the created color images, in which the features of the author’s perception of the world are revealed. The article presents data on the study of the semantics and symbolic meaning of frequency colors found in the lyrical texts of M. Voloshin, data on the analysis of individual poems containing color symbolism in order to determine the meaning of color painting for understanding the poet’s worldview and the features of his creative manner. In the course of the study, methods of semantic-stylistic, contextological, and motive analysis were used, which make it possible to reveal the features of the embodiment and the meaning of M. Voloshin’s color picture of the world. The variety of color embodiment of the lyrics of M. A. Voloshin is associated with the peculiarity of the worldview of Voloshin the artist, who gave himself the attitude “to absorb all forms, all colors into oneself with the eyes”. In addition, the poet’s passion for Symbolist and Impressionist teachings influenced the multicoloredness of his poetry. Color painting, being one of the main means of expressing the author’s intentions, helps to convey the subtlest color shades and the symbolism of the feelings of the lyrical hero. The most frequent colors used by M. Voloshin: red in its many variations, gold, gray, purple – often contain metaphysical symbolism. To convey color, M. Voloshin also uses lexemes denoting plants (flowers), as well as mineralogical designations. The study of M. Voloshin’s lyrical tests for the use of color in them led to the conclusion that the color picture of the poet’s world is rich and diverse incarnations: colorful epithets, unusual metaphors, comparisons, synesthetic images, mineralogical designations – an incomplete list of the means and techniques used by the author. The significance of the conducted research lies in the reflection of the author’s worldview through the comprehension of the symbolic meanings of the image embedded in the color names.
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Zhang, Xiayi. "The Differences between Traditional Chinese Clothing Aesthetics and Western Clothing Aesthetics." Arts Studies and Criticism 5, no. 1 (April 24, 2024): 1. http://dx.doi.org/10.32629/asc.v5i1.1852.
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There are significant differences between traditional Chinese clothing aesthetics and Western clothing aesthetics in terms of materials and design styles, colors and patterns, as well as cutting and dressing styles. Traditional Chinese clothing focuses on natural materials, details, and craftsmanship, and emphasizes overall balance. While Western clothing tends to various kinds of materials, personality traits, and fashion trends, they pursue uniqueness and innovation more. In terms of colors and patterns, traditional Chinese clothing prefers bright colors and traditional patterns, emphasizing connotation and symbolism. Western clothing, on the other hand, explores diverse color combinations, advocates abstract and modern patterns, and emphasizes visual expressions and fashion sense. In terms of cutting and dressing styles, traditional Chinese clothing emphasizes streamlined and curvaceous beauty, pursuing overall harmony. Western clothing prefers simple and exaggerated cutting styles, emphasizing personal style and free matching.
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Turdiyeva, Oydin. "The Color Palette in the Work of the Iranian Writer Rаziye Tujjar." International Journal of Multicultural and Multireligious Understanding 8, no. 8 (August 16, 2021): 317. http://dx.doi.org/10.18415/ijmmu.v8i8.2973.
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The article analyzes the symbolic expressions reflected in colors in the stories of Razia Tujjar, one of the greatest representatives of modern Iranian literature. In modern Iranian literature, the famous writer Raziye Tujjar has a great ability to fully understand a woman's heart, reach the depths of a woman's heart, revealing all its secrets. Raziye Tujjar writes in a unique style that distinguishes her works from other writers for the richness of philosophical observations, the beauty of language and style, and the presentation of social problems. Most of the characters in her stories are women. The writer is very fond of colors in her stories. She sees the world through different colors and shades. Especially gray, full of hardships, she describes it and ends her work in a depressed state. Our scientific article also emphasizes the role of color symbolism in the richness of the literary imagery of the writer.
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صلاح عبد الغني حسين. "The symbolism of colors in women's and men's historical costumes." Journal of the College of Basic Education 22, no. 95 (December 18, 2022): 531–54. http://dx.doi.org/10.35950/cbej.v22i95.8044.
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تعد الألوان في الأزياء التاريخية وللمرحلة العباسية تثير الكثير من الاهتمام في جملة من رموز الألوان ، فقد استخدمت الألوان في كثير من أوجه الحضارة الإسلامية في الملابس ، والعمارة ، والأثاث الخشبي والمعدني . وقد كان يزيد من بهاء هذه الأوجه ويمنحها القيمة الجمالية العالية . لذلك فأن من الضروري دراسة رمزية اللون في الأزياء التاريخية فهو لا يمثل كشفا جديدا بقدر ما هو تأصيل و مؤصل في ظاهرة الحياة العربية والإسلامية . لذلك فقد تناول الباحث دراسة رمزية الألوان في الأزياء التاريخية في المرحلة العباسية أنموذجا ، وقد توجه الباحث في إطاره النظري لدراسة المفهوم العام للرمز اللوني في الفن ، ورمزية اللون في الأزياء ، وكذلك إلى اللون في التراث الإسلامي (موارد اللون في القران الكريم ) واللون في الأزياء العباسية . وقد اعتمد الباحث في إجراءات بحثه جملة من معايير رمزية اللون في الأزياء التاريخية كآلية في تحليل نماذج عينته للوصول إلى أهداف بحثه . وقد آل البحث إلى نتائج أظهرت نجاح رمزية اللون في الأزياء التاريخية ، وما للمستفيد من أحاسيس عالية لتكلل الرمزية اللونية .
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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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Prokhorenkova, Svetlana. "Features of the Interpretaition of Light and Color in the Philosophy and Literature of Symbolism." Bulletin of Baikal State University 33, no. 3 (October 26, 2023): 622–30. http://dx.doi.org/10.17150/2500-2759.2023.33(3).622-630.
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This article is devoted to the discoveries of poets, writers and symbolist philosophers in the field of color symbolism and its new content. Saturation with a new meaning of human existence, the search for spiritual support, reflections on the human soul and the fate of Russia — these are the main topics with which the understanding of color turned out to be interconnected. On the example of the analysis of the philosophical and literary activities of outstanding thinkers of the late XIX — early XX century, the main ideas of a difficult time for Russia are considered. The analysis of color symbolism in the work of Vl. Solovyov, A. Bely, D. Merezhkovsky and F. Sologub made it possible to give a comparative description of the images-symbols presented in the works of prominent thinkers. The range of topics in the philosophy and literature of the Silver Age is unusually wide. Significant was the interest of the authors in mythology and religion (the spiritual life of a person), in social life, in the creative activity and personality of a person: in his inner life, thoughts and experiences. The world of the soul and the world of thought were colored by philosophers and poets of the Silver Age in different colors. A fine line of interaction between the soul and the human mind has been discovered. An intuitive approach helped thinkers to understand and decipher the most complex phenomena of the surrounding world and the inner life of a person. That is why the images of poetry and prose were not always distinct and clear. They acquired a multi-level nature and developed into signs, symbols of the era. The processes of change in the perception of the world, which characterize the Silver Age, almost simultaneously occurred not only in literature and philosophy, but also in the visual arts, architecture and musical art.
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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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LADCHYN, Yaroslav. "ARTISTIC FEATURES OF SYMBOLISM IN JAPANESE VISUAL ART DURING THE EDO PERIOD." ART Space 1, no. 4 (2024): 183–207. http://dx.doi.org/10.28925/2519-4135.2024.410.
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This article is dedicated to exploring the artistic characteristics of symbolism in Japanese visual art during the Edo period (1603-1868). Through an analysis of this era, the author investigates the utilization of natural symbols, particularly flowers and birds, in the works of artists. Additionally, the article examines the influence of seasonal symbolism and its impact on artistic practice. Special attention is placed on the use of colors and their significance in conveying emotions and atmosphere. Furthermore, depictions of mythological creatures such as dragons and fairies are studied, along with their role in expressing spiritual concepts. The study also delves into the utilization of geometric forms and their symbolic meanings within the context of cosmic and philosophical aspects. The author further analyzes the incorporation of everyday objects and their contribution to creating allegorical imagery. The primary objective of this article is to uncover the significance of symbolism in Japanese visual art during the Edo period and to reveal its influence on the cultural, philosophical, and aesthetic context of that time. The article examines the utilization of natural symbols, seasonal, and color symbolism as means of metaphorically conveying profound concepts. It highlights the impact of mythological creatures on artworks of that era and the use of geometric forms to convey cosmic and spiritual dimensions. The role of object symbolism in generating additional meanings in art is also explored. The central aim of the article is to comprehensively comprehend the significance of symbolism in Japanese art during the Edo period and its effect on the cultural and artistic milieu of the time. The research is focused on investigating the role of symbolism in Japanese art during the Edo period and its impact on the cultural and artistic context of that period. Additionally, the article examines object symbolism and its role in shaping dual meanings and additional layers of significance in artworks. The study is aimed at unveiling the essence of symbolism in Japanese visual art during the Edo period and deepening the understanding of the impact of these artistic techniques on the cultural context of the time.
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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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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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Hidayat, Hamdan. "Simbolisasi Warna dalam Al-Qur’an." MAGHZA: Jurnal Ilmu Al-Qur'an dan Tafsir 5, no. 1 (December 24, 2020): 36–50. http://dx.doi.org/10.24090/maghza.v5i1.3638.
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This article aims to discuss the symbolization of colors in the Qur'an. In the article, the symbolism of colors in the Qur'an is discussed using the thematic interpretation theory pioneered by Abdul Hay al-Farmawi. Through this thematic interpretation, theory found 6 colors found in the Koran, namely red, yellow, green, blue, black, and white scattered in 33 ayat contained in 22 surahs by mapping the results of research using thematic analysis techniques. The results of color research in the Qur'an are expressions that are marked with color in various forms of lafadz as a symbol to describe certain objects in a situation, situation, place, and nature of the object. First, read as a symbol of the beauty of nature. Second, yellow is a symbol of the image of humans in the world. Third, green is a symbol of fertile earth. Fourth, blue as a symbol of the human condition on the Day of Judgment. Fifth, black is a symbol of human images on the Day of Judgment. Sixth, white is a symbol of a human image when in heaven. The existence of this article shows that color is a simple but meaningful symbol hidden in the Qur'an which needs to be studied.
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Derki, N. "Connotative Meanings of Color in Algerian Culture: Case Study of Red and Yellow." Professional Discourse & Communication 5, no. 2 (June 2, 2023): 60–69. http://dx.doi.org/10.24833/2687-0126-2023-5-2-60-69.
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This article investigates the connotative meanings of the color terms “red” and “yellow” in Algerian culture from a pragmatic perspective. The study aims to explore the different connotative representations that these colors can acquire in various contexts. The data for this study were primarily obtained from Algerian newspapers, TV series, and social media posts. To pinpoint the accuracy of the analysis, a Discourse Completion Task (DCT) questionnaire was distributed among male and female Algerian students at Jordan University. The DCT comprised 12 situations, with six for each color, and participants were required to determine the appropriate meaning in each situation. The collected data was then analyzed qualitatively in detail. The results have shown that while the red color in Algerian culture has both positive and negative connotations, yellow always bears a negative connotation. These findings provide valuable insights into the cultural associations and symbolism of these colors in Algerian society, which can be relevant for professionals in fields such as marketing, advertising, and international business to enhance their cross-cultural communication and understanding.
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Wang, Xingqian. "Principles of color formation in Chinese painting and ceramic painting." Философия и культура, no. 8 (August 2023): 139–47. http://dx.doi.org/10.7256/2454-0757.2023.8.43702.
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The art of traditional painting and ceramic painting in China has a long tradition, in particular in understanding the role of color in the compositional and semantic structure. The principles of creating a color image have long been associated with national peculiarities of perception of shades and their combinations, as well as philosophical ideas. Technological features and properties of glazes imposed certain restrictions on the use of expressive possibilities of color by Chinese ceramic artists. The object of this research is the works of Chinese painting and ceramics, the subject is the principles of color formation in these arts. Particular attention is paid to identifying similarities in approaches to color transfer in paintings and ceramics. The author's special contribution to the study of the problem is an attempt to characterize and compare the role of color in the art of Chinese painting and ceramic painting. The article defines a number of general principles of correlation and harmonization of colors in the two arts. The traditions of the color formation of works of various epochs are traced, the peculiarities of their evolution are established, the colors characteristic of painting and painting ceramics of different historical periods are revealed. The article examines the essence and symbolism of different colors, which are based on national philosophical and cultural ideas. The conclusion is made about the significance of the color image and color formation for the works of ceramics and painting in China.
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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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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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Han, Kyeng Min. "Comparative Analysis of Black and White’s Color Meaning Symbol: Analysis of Korean-Hungarian Folksong’s Text." East European and Balkan Institute 48, no. 1 (February 29, 2024): 163–91. http://dx.doi.org/10.19170/eebs.2024.48.1.163.
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This paper is a study on the meaning symbols of black and white in Korean and Hungarian folk song texts. Starting from the original form of black and white with basic meaning in folksongs, I analyzed the symbolism that contains various expanded meanings. In other words, starting from the conceptual meaning of black and white, we looked for usage cases that spread to thematic, connotative, social, emotional, reflective, and collocational meanings, and classified the various semantic symbols expressed by color words. The classification method was divided into positive and negative meaning symbols depending on whether the color's meaning was positive or negative for the individual or society, and the expanded meaning belonging to each was presented and classified. I wanted to find out whether the black and white colors used in the folk songs of the two countries have common positive and negative meanings, and if specific meaning symbols appear for one people, what the reason is. The direct goal of the study was to understand the universal and general meaning symbols of color, but behind the scenes, it was expected that each nation would have individual and unique meaning symbols. As a result of the study, the original black and white colors were common to both ethnic groups, but the derived meanings had both similarities and differences. It can be inferred that cultural and environmental factors such as the religion, history, and living environment of the two peoples may have had an influence in the background.
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Kim, Sun Young. "Symbolism of Colors in Costumes of the Ballet “Raise the Red Lantern”." Korean Journal of Human Ecology 26, no. 2 (April 28, 2017): 109–19. http://dx.doi.org/10.5934/kjhe.2017.26.2.109.
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Yoon Hyun Chul. "A Study on the Symbolism of Colors and Patterns -Focused on the -." Journal of Korea Design Knowledge ll, no. 20 (December 2011): 1–10. http://dx.doi.org/10.17246/jkdk.2011..20.001.
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Nepomnyaschikh, Natalia A. "Semiotics of color in S. N. Durylin’s prose in light of E. Troubetzkoy’s and P. Florensky’s ideas." Tyumen State University Herald. Humanities Research. Humanitates 9, no. 4 (2023): 94–105. http://dx.doi.org/10.21684/2411-197x-2023-9-4-94-105.
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S. N. Durylin’s writing is filled with a wide range of vibrant colors: the text is abundant in colorful descriptions, metaphors, and unique words coined by the author to represent different shades and hues. These color references are consistently used and often serve as symbols for the ethereal and true essence of the world. The use of color symbolism is essential in portraying Holy Rus’, specifically the Russia before the revolution. S. N. Durylin’s ideas on the semiotics of color might have been influenced by the thoughts on color in Russian iconography shared by P. Florensky and E. Troubetzkoy, both of whom he had regular contact with. Durylin not only drew inspiration from his friendship with Troubetzkoy, but also from his own fascination with icons. In his prose, Durylin effectively incorporates the concepts of color put forth by E. Troubetzkoy and P. Florensky in their interpretation of Russian iconography.
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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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Vorkachev, S. G., and E. A. Vorkacheva. "Color symbolism in the blazoning of national heraldry (linguistic and cultural aspects)." Current Issues in Philology and Pedagogical Linguistics, no. 1 (March 25, 2024): 212–22. http://dx.doi.org/10.29025/2079-6021-2024-1-212-222.
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The purpose of the article is to study the semantics and role of color symbols in the verbal description of national heraldry, and its relevance is due to the current trend towards an increase in the number of independent states with their own national symbols. The objectives of the research include determining the semiotic specificity of the color symbol, establishing the object prototypes motivating this symbol and identifying new concepts and ideals symbolized in modern national heraldry with the help of color. The study was carried out on the material of the state emblems of countries united by a common language of blazoning, using the technique of analyzing color images. It has been established that in color symbolism there are two types of semiotic units: symbols in which the image refers to some natural standard of color that motivates color, and symbols in which the connection between the expression and the content planes of the semiotic formation turns out to be conventional and conditioned exclusively by cultural tradition. In most cases, the appearance in national heraldry of a particular color or shade of the latter is determined by the taste preferences of the compiler of the coat of arms, but sometimes the symbolic meaning of the color in the blazon is explicitly stated. The content plane of color symbols, which receive an explicit interpretation in state heraldry, is represented both by specific objects, which act here as prototypes motivating the symbol, and by concepts of one or another level of abstraction, and the connection of these concepts with color is not figuratively motivated in any way and is determined exclusively by cultural traditions. The medieval list of secular and Christian virtues, to which the main heraldic colors refer, is supplemented by modern concepts and ideals in the state heraldry of today. At the same time, the black color as a symbol of sadness and mourning does not appear in state heraldry, and there is no purple color in the studied national heraldry. The results of the study lead to the conclusion that the color symbolism reflects the national, cultural and linguistic specificity of the countries that own the state emblem.
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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.
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Ristić, Nebojša, Emilija Đikić-Jovanović, Ivanka Ristić, Predrag Đorđević, and Aleksandra Mičić. "Clothing color as an aesthetic and communication factor and color systems." Tekstilna industrija 72, no. 1 (2024): 23–35. http://dx.doi.org/10.5937/tekstind2401023r.
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The clothes we wear are not only a physical means of protection from the cold and the sun, but also have a cultural component in the domain of non-verbal visual communication. In any occasion and environment, the color of the clothes attracts attention. Color symbolism is important for fashion designers because the colors of different parts of clothing evoke certain connotations, which depend on the situation in which the clothing is worn. The color of clothes has a psychological effect on people and leaves a strong impression when contacting another person. The first part of the paper describes the importance of color from the aspect of aesthetics and communication ability of clothes, i.e. the promotional effect of color on the recognition of the usefulness of the product by customers. In the second part, the color systems that are important for the clothing industry and the numerical evaluation of color are described
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Kaya, Özlem, and Sinziana Romanescu. "An Analogical Approach to Colors and Symbolism in Romanian and Turkish Folk Art." Art-Sanat, no. 15 (February 5, 2021): 161–81. http://dx.doi.org/10.26650/artsanat.2021.15.0007.
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MOUTATI-KABOU, Sylviède Nephtali. "Pragmatics of Symbolism in Chrétien De Troyes’s Tristan and Iseult." Cahiers Africains de rhétorique 2, no. 3 (July 12, 2023): 106–22. http://dx.doi.org/10.55595/snmk2023.
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This study proposes to find out the practical meaning of symbols in Tristan and Iseult, written by Chrétien de Troyes. It starts from the observation that the author codifies his work by the means of symbolism and that each symbol does not only summarize or hide a vast reality that sometimes escapes the reader; but also takes on a situational meaning which matches the context in which it appears; hence the hypothesis: the reading of a symbol is done in accordance with the environment to which it belongs. Thus, this study, which requires a rapprochement with biblical stories, revolves around the human body, nature and colors as specific elements of analysis. Key Words: practical signification, symbols, Tristan and Iseult, codify, environment, biblical stories.
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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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Gistrama, Ionove, and Yeny Prastiwi. "A Semiotics Analysis of the Novel Illustration on Harry Potter and the Prisoner of Azkaban by J.K. Rowling." International Journal of Cultural and Art Studies 4, no. 2 (October 31, 2020): 27–38. http://dx.doi.org/10.32734/ijcas.v4i2.4559.
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This research aims to study the novel illustration as a sign in Harry Potter and The Prisoner of Azkaban novel by J.K. Rowling (2014). The researcher shows how the illustrations can influence readers by illustrating images, events, colors, and the typography displayed on the novel's cover. This research is qualitative. The data source used is the Harry Potter and The Prisoner of Azkaban novel by J.K. Rowling (2014) UK edition. The data collection technique is from analyzing the novel illustration. The theory used in this study is a semiotic analysis of literature, the course of the sign, meaning, metaphor, and symbolism. The result of this study are as follows: first, the value of novel illustrations. Second, the meaning of color psychology. Third, the reviews about the different edition of Harry Potter and The Prisoner of Azkaban novel.
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Karnaukhova, Anastasiya Aleksandrovna. "Ways and mechanisms of symbolic development of work in the language (on the example of color terms in Spanish and Russian poetry of the XX century)." Филология: научные исследования, no. 1 (January 2020): 31–38. http://dx.doi.org/10.7256/2454-0749.2020.1.29064.
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The subject of this research is the Russian and Spanish poetry of the XX century, while the object is the symbolization of color terms in Russian and Spanish poetry of the XX century, as well as ways and mechanisms of such symbolization. The author examines the symbolism of color terms associated with the images-symbols of plants, animals, precious stones, heavenly hosts, and natural phenomena in the Russian and Spanish poetry of the XX century. The poems of Federico Garcia Lorca, Joaquín Romero Murube, Antonio Machado. Vyacheslav Ivanov, Andrey Bely, and Irina Odoyevtseva served as the material for this research. Methodology also recalls to the conceptual linguistics (analysis of color terms as the significant elements of the sphere of concepts of Russian and Spanish languages), as well as mythopoetic school of literary studies (mythopoetic analysis). The main conclusions consist in the following statements: the poetry of the prominent Spanish poets of the early XX centuryAntonio Machado and Federico Garcia Lorca is characterized with the heightened symbolization of color terms, associated with the reference to the symbolic “correspondence theory of truth”. The search of correspondence between color terms, natural phenomena, precious gems, etc. is also common to the Russian poetry of the Silver Age. The scientific novelty consists in the profound analysis of multiple symbolically understood colors and color images characteristic to the Russian and Spanish poetry of that time. Both, Russian and Spanish poets of the XX century stayed off the simple colors, sacrificing them for the compound, symbolically understood color terms that require an additional interpretation from the reader.