Color Symbolism Research Articles

SPECIFICS IN THE NATIONAL DANCES OF THE TURKIC PEOPLES

To date, the modern picture of the cultural space is a very diverse, multi-level style palette. In this sense, the XXI century is full of colors of several epochs at once, unfolding consistently and intensively. The relevance of the topic under consideration is also due to the fact that in the period of globalization and the "capture" of the minds of modern youth by the delights of Western European culture, turning to the dances of the Turkic world is another opportunity to preserve the desired folk traditions, which, like language, dance is a reflection of the mentality, character of the nation and even its history. Striving into the roots of Turkic culture, studying and analyzing the dance art of Turkic-speaking, fraternal peoples, its history and its actual modern interpretation is a kind of challenge of the time. The article draws attention to the characteristic features of the common and special in the Turkic circular dances. The author, referring to existing sources, noted about the worship of ancient people, came to the conclusion that the Turkic peoples have a common root, have a common culture and values. The paper analyzes the historical interrelationships and conditionality of changes between the modern period and the stage of cultural construction in the national dances of the Turkic peoples. Also, on the basis of the studied materials, the comparative analysis examines the dance culture of representatives of modern Turkic peoples (Kazakhs, Bashkirs, Uzbeks, Uighurs, Azerbaijanis). The similarities that unite them are not only the common language, historical and geographical space, similar toponyms, customs and traditions, folk crafts, oral folk art, musical culture, but also circular dances. In addition, the article examines the specifics of the in the music of the Turkic-speaking peoples. The article emphasizes that the identification of interregional connections in the musical system of the Turkic-speaking peoples occurs at several levels of research, allowing to optimally show the processes of connections, to identify their origins. The article examines the peculiarities of the development of national choreographic culture in historical retrospect; analyzes the characteristic features of the formation of ethnic dance, the degree of influence of natural factors, color symbols, everyday life on the development of national dance culture as a whole.

Accessibility of Library Building for People With Disabilities in Jakarta Library

The lack of accessibility for people with disabilities in public facilities makes it difficult for people with disabilities to carry out activities and mobility easily, safely, comfortably, and independently, especially in terms of meeting information needs and accessing information needed in libraries. This study aims to find out the implementation of accessibility of library buildings for people with disabilities in the Jakarta-Cikini Library. The research method used is a qualitative approach with a type of case study research. Data collection through observation, interviews, and documentation. The selection of informants in this study used purposive sampling. The results showed that the implementation of accessibility of library buildings for people with disabilities in the Jakarta-Cikini Library can be said to be quite good based on IFLA standard guidelines. There are only a few accessibility that have not been implemented thoroughly such as disability-only parking lots far from the entrance and symbol colors in parking lots that have faded, doors and walls that use glass there are no stickers or warning signs to watch out for glass, the unavailability of an induction loop system at the circulation and information desk, the unavailability of handles to help disabled people standing on the toilet and the absence of the application of guiding blocks Inside the library.

한식 소스 패키지 색채 분석 연구

The purpose of this study is that as the demand for sauces increases, various types of sauce products that meet the needs of consumers are being released. Packages with designs that mislead consumers are also being introduced in various ways. Therefore, the purpose of this study is to analyze the color of Sampyo's 'Sammine Kitchen' product package, and through this, it is intended to provide primary data necessary to propose colors that can effectively express its products to consumers in product packages or advertisements and to help establish marketing strategies. A Korean sauce package posted on the company's website was analyzed as a research method. As a result of the study, first, most of the colors of the casting color and the logo were the same, and the color difference appeared only in the illustration. Second, all 17 packages use colors that are reminiscent of raw materials. Third, most of the package's colors are distributed in the YR series. This study found that the food package's color was most related to the primary material, and the symbolic color of the company that manufactures the product also occupied a part. Through this, the color of the food package can significantly contribute to promoting consumers' willingness to purchase and corporate marketing, and we hope that it will be recognized and appropriately utilized as a sales promotion role and marketing value.

SYMBOLISM OF NINE GREAT HOUSES IN GAME OF THRONES

This study entitled “Symbolism of Nine Great Houses in Game of Thrones”. It aims at identifying symbols that are applied and analyzing the meanings of the symbols implied in each house based on the semiosis process proposed by Peirce. All the data are taken from the Nine Great Houses by watching it repeatedly and listing all the symbols that are related to each house. The writer will identify the symbols that are found and analyses them by using qualitative descriptive methods continued with the semiosis process. The writer chose the Theory of Symbol proposed by Charles Sanders Peirce to analyze the symbols by using his triadic structure which included Object, Representamen, and Interpretant. All three parts must be present for something to be considered a sign or symbol. The results show that four type of Archetypal Symbols found, they are Symbolism of Animals, Symbolism of Colors, Symbolism of Settings, and Symbolism of Objects. These differences have resulted in various interpretations.

Boja odeće kao estetski i komunikacioni faktor i sistemi boja

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

ARTISTIC FEATURES OF SYMBOLISM IN JAPANESE VISUAL ART DURING THE EDO PERIOD

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.

Chromatic Symbolic Language and Color Blindness: A Comparative Analysis in Advertising

Chromatic Symbolic Language and Color Blindness: A Comparative Analysis in Advertising

Black and White Dichotomy in Christian Colour Symbolism

Hıristiyanlık, renk sembolizmini çeşitlendirmede ve kullanmada müstesna bir yere sahiptir. Hıristiyanlıktaki Tanrı anlayışı, kurtuluş öğretisi, eskatoloji, litürjik takvimdeki önemli günler, sakramentlerin uygulanmasındaki özel durumlar, Kilise’nin maneviyatını ortaya çıkaran unsurlar ile İsa Mesih, Bakire Meryem, Havariler ve Aziz/Azizeler renk sembolizmi içerisinde kendilerine yer bulabilmektedirler. Bu renkler arasında siyah ve beyaz ise esasında dünya üzerindeki pek çok dinî inanç ve kültürde neredeyse aynı anlama gelecek şekilde temsiliyet kazanmaktadır. Siyah, insanlarda genellikle kötülük, karanlık, saldırganlık, gizem ve korku gibi duyguları uyandırdığı için olumsuz bir anlam kazanmış, beyaz ise saflığın, masumiyetin, iffet ve erdemin rengi olmuştur. Hıristiyan sembolizmi içerisinde siyah asli günah, insanın düşüşü, ölüm ve Cehennem’i tasvir eden sahnelerde, beyaz ise İsa Mesih’in vaftizi, Bakire Meryem’e müjdelenmesi ve inananların Cennet’te bir araya gelmesini konu edinen eserlerde en çok başvurulan renkler olmuştur. Bu doğrultuda çalışmanın amacı genel anlamda Hıristiyan sembolizmi içerisinde renklerin önemine vurgu yapmak ve özellikle de siyah ve beyazın hem bu renk kartelası içerisinde ön plana çıkan anlamlarını hem de bu durumun toplumsal yansımasını detaylı bir şekilde ele almaktır. Çalışmada bu amaç çerçevesinde her iki rengin Hıristiyan geleneğindeki anlamlarına ve kendi içlerindeki çatışmaya yer verildiği için karşılaştırma metodundan ve Kutsal Kitap’ta bu renkler özelinde zikredilen pasajlar incelendiği için metin analizi ve yorum geliştirme yöntemlerinden yararlanılmıştır. Hıristiyanlıkta renk sembolizmi kapsamında değerlendirilen bütün bu renkler, bu dinin tarihsel gelişimi içerisinde kendilerine yüklenen anlamlarla birlikte çeşitli kutlamalarda, ritüellerde ve dinî bayramlarda kullanılmaya devam etmektedir. Siyah ve beyaz renkleri ise salt anlamda dinin inanç ve ibadet boyutunu aşıp toplumsal bir ayrımın da eşik noktasını oluşturmaktadır. Bu ayrımda beyaz saflığın ve masumiyetin, siyah ise kötülüğün ve isyanın temsilcisidir. Bu durum İsa Mesih ve şeytani güçlerin, yani iyilikle kötülüğün ve dünyevi olanla ruhsal olanın arasındaki çatışmayı sembolize etmektedir.

National and Cultural Content in Visual Culture Objects: Colour Symbolism of Modern Patriotic Murals

The purpose of the article is to reveal the features of the expression of national and cultural content in the colouring of objects of visual culture on the example of patriotic murals. Research methods. General methodological methods of cognition are applied: logical-analytical, subject-analytical, system-analytical, typological, as well as the method of cultural, hermeneutical, and semantic analysis for the purpose of comprehensive and objective research of the given problem. Scientific novelty. The peculiarities of the expression of national and cultural content in the colouring of objects of visual culture have been studied using the example of patriotic murals; the symbolism of colour in Ukrainian culture has been clarified; a semiotic analysis of the visual representation of the colours of the national flag of Ukraine has been carried out; the variability of the use of the triad of white-black-red and blue-yellow colours in modern murals in the context of expressing national identity has been considered. Conclusions. At the present stage, colour symbolism is actively used for the formation of national identity in works of visual culture. The study has shown that in modern Ukrainian society, semiotic colour codes in objects of visual culture are used in accordance with historical, socio-cultural, and political conditions. The colours of the national flag of Ukraine (as a symbol of the great Ukrainian state, a symbol of victory over enemies, a sign of memory of those who gave their lives for the freedom of their homeland, a way of visualising patriotic feelings) and the triad of white-black-red colours (as a personification of the concentration of the basis of the life-giving essence of the world in Ukrainian cosmology) are most often used to construct national identity and express national and cultural content. Keywords: colour, visual culture, mural, symbolism, semiotics, national-cultural content, national identity.

Blue without my Green: A Corpus Analysis on Colours of Grief and Emotive Expressions of Amy Winehouse’s Compositions

Singers and songwriters use their music as a platform for communication, using lyrics to express intimate sentiments - often caused by the pressures of the music industry as well as personal matters such as mental health. In this study, we analysed Amy Winehouse’s songs, exploring the explicit and subliminal affective messages using linguistic techniques i.e., metaphors and colour symbolism. Grounded on corpus analysis and stages of grief theory, we looked at linguistic patterns and intensity of word choice related to Amy’s choices of colours and emotive expressions. The findings show that sadness was the most prevalent emotion in her lyrics and its correlation to her mental health issues; the transition of positive sentiments developing into negative emotions was also evident in the data. Her complex relationships and experiences were also infused into her deliberate self-portrayal of catalytic mental deterioration, self-destruction, and torment. This study offers new insights in corpus analysis research on psycholinguistics and mental health in pop culture.

Simvolika cveta v iskusstve tanka

The article examines the origin of symbolism and the cult of colour on the example of colour symbolism in the art of Thangka; it analyses two cultural and logical approaches to colour symbolism comprehension: using inductive method (generalization of natural attributes of colour) and deductive method (further transformation of colour symbolism into a social phenomenon and extension of colour semantic field). Two main symbolic systems generated by colour symbolism in Tibetan culture in the deductive process of its transformation into a social phenomenon - the “system of objectification” and the “system of humanization and deification”, their implementation in the Thangka paintings and the features of serving the needs of religion are investigated in this article.

Colour Symbolism in Finance

Abstract Colour symbolism plays an important role in everyday life and science. The subject is interdisciplinary and receives significant attention in the literature. It is increasingly entering the field of economics and finance. The authors are the first to research the connotations and symbolism of colours in finance. The following research aims to: identify and determine the meaning of colours in connection with the word “finance”, determine the popularity of the use of particular colours in relation to the word “finance”, and identify the most popular subject areas in the literature related to the most commonly used colour in finance. Bibliometric and textual analyses were adopted as research methods. The main research conclusions are as follows. Of the 14 colours examined, only green, blue, brown, black and white showed connotations accurately portrayed in the text. Apart from the colour black, the symbolism is universal and unambiguous. For black, the symbolism is twofold, with one of the meanings going back to historical times. The dominant colour is green. The main research areas pursued under “green finance” include investing in and financing environmentally friendly projects (including various types of technology), developing financial instruments to support environmentally friendly activities and supporting clean energy projects.

The Art of the Faithful Heart: A Comparison of Classical Christian and Islamic Art Traditions

When a translation of a text is complete, the presentation of the text should, as much as possible, avoid any influence that could reduce the impact or acceptability of the contents of the text. This is especially true of faith-critical texts, whether they are of Christian or Islamic origin. The study and comparison of different art traditions can help us reduce the possibility of such unfortunate influences. Since Christians and Muslims have very different assumptions even about the nature of God (or Allah) as he reveals himself through sacred writings, it is not surprising that Christians and Muslims also have very different art traditions. The paper first introduces the principles of classical Western Christian art and of classical Islamic art, since these traditions were approximate contemporaries. It then compares differences in color symbolism, important symbols in each faith tradition (including Islamic calligraphy), and in the forms and functions of traditional architecture.

Chromatic Symbolism in T. S. Eliot’s The Waste Land

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.

The linguistic and cultural aspect of color in the Kalmyk and Korean languages

This article discusses the semantics and symbolism of primary colors in Kalmyk and Korean traditional cultures. The subject of our research is the content of the basic concepts of color terms in the linguistic picture of the world of Kalmyks and Koreans. Linguistic and cultural analysis of color terms in the languages under consideration allows us to determine the universal and specific features of the linguistic picture of the world, which represent the historical, cultural, social experience of two peoples, accumulated as a result of their development. The research material is proverbs and stable expressions of the Kalmyk and Korean languages. The study of basic colors in these languages is based on the theory of Yin-Yang and the Five Elements, which symbolize opposites that are closely related to each other. A comparative analysis of Korean and Kalmyk material identified and revealed valuable information related to the mentality, traditions and customs of these peoples, and showed the important role of color in the linguistic picture of the world of the two peoples. Color affects the social, religious, moral, emotional and interpersonal relationships of people. Despite the fact that each nation has its own way of seeing the world in its own way, analyzing various phenomena of the surrounding reality, the analysis of the material made it possible to establish that the worldview of the two peoples in terms of spiritual and moral values indicates their related cultural ties. The author examines in detail the power of the influence of color on the worldview of different peoples through the language of folklore, which will bring a fresh perspective to this area. The following methods were used in the study: comparative, comparative-typological, structural-semantic, comparative-historical, etymological and the method of complex conceptual-semantic analysis.

23 Tamoxifen Effects on Cognition and Language in Women with Breast Cancer

Objective:Cognitive changes following adjuvant treatment for breast cancer (BC) are well documented particularly following chemotherapy. However, limited studies have examined cognitive and/or language functions in chemotherapy-naive women with BC taking tamoxifen (TAM). While there is some compelling evidence TAM affects cognitive and language domains, language has not been studied beyond semantics (i.e., content of language), which is just one aspect of language. Using ambulatory cognitive assessment, we investigated the trajectory of cognitive and language changes during early period of adjuvant endocrine treatment (tamoxifen) in women with BC at two time periods (pre-treatment and two months after treatment begins).Participants and Methods:Four women with BC (mean age = 62.25 years, SD = 8.38) and 18 cognitively healthy age-matched controls (mean age = 59.77, SD = 7.45) completed 3 cognitive tasks using smartphones, during a short time period (5 days) and repeated at two time periods. Symbol search, dot memory and color dots tasks were used to measure the cognitive constructs - processing speed and working memory. Response times were recorded in milliseconds. To determine language ability, language samples were collected at two time periods, where the participants described two stories from two wordless picture books and samples were assessed using core lexicon analyses.Results:Wilcoxon-signed rank test was computed to identify cognitive and linguistic changes during early period of TAM administration in women with BC at two time periods. No significant within group or between group differences were seen on the cognitive and language tasks at the two time periods, however, a trend for decline in performance was seen in some BC participants across different tasks.Conclusions:This is the first study to our knowledge to use ambulatory cognitive assessment method and study discourse-level language function during this early period (pre-treatment and 2 months post-TAM). Findings from the current study advance our understanding of trajectories of cognition and language changes during the initial course of adjuvant endocrine treatment for women with BC with ER+ tumors. Using a measurement-burst design and ambulatory cognitive assessment, we were able to apply better precision measurement to identify distinct cognitive constructs affected by adjuvant endocrine treatment. In addition, insight into changes in discourse ability are impactful for numerous reasons: (1) better understanding of how adjuvant endocrine therapy impacts communication and (2) discernment into language domains that may require early behavioral intervention.

Features of the Interpretaition of Light and Color in the Philosophy and Literature of Symbolism

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.

CONCEPTUALISATION OF THE MEANINGS OF FLOWER SYMBOLICS IN INTERIOR SCHEDULES

The purpose of the study is to analyse the scientific literature to update the problems associated with the study of the symbolism of flowers and its interpretations. The methodology of the work is based on comparative historical and comparative typological methods, which make it possible to establish the complexity and ramifications of the problem of colour symbolism; The cognitive approach made it possible to identify the dependence of the use of interpretive capabilities of colour symbolism on the formation of the emotional component for the disclosure of contents and associations. The scientific novelty of the work lies in the addition of scientific literature with new studies of colour symbolism. Conclusions. Based on the study of scientific literature, it is possible to determine the relevance of problems associated with the symbolism of flowers and its specificity. Acquaintance with the works of scientists (P. Zholtovsky, A. Kondratyuk, A. Lopukhina, L. Milyaev, F. Umantsev) made it possible to determine the directions of research of the monument and the lack of works on the symbolism of flowers in the painting of the temple. The scientific works of V. Ovsiychuk and M. Pastoureau became the basis of the theory and history of the study of flowers. The timeliness of the research is confirmed by the developments of foreign institutions and scholars, in particular, the problem of: colour psychology (H. Brem); colour theory (M. Oswald, Weingarten University of Education, German Colour Centre, University of Halle-Wittenberg); global visual communication by colour (T. Fassati). During the heyday of Baroque art, the masters of the Lavra art school used the symbolism of flowers in a new way in the ensemble of paintings of the Trinity Gate Church. Mysticism prevails in the picturesque palette of the church.
 Keywords: cultural codes, colour, symbolism, interpretation, interior, painting, monumental painting, Trinity Gate Church.

REPRESENTATION OF THE CITY IN TRADITIONAL CHINESE GOHUA PAINTING: MOTIFS, TYPOLOGY, PICTORIAL AND STYLISTIC FEATURES

The representation of the city in traditional Chinese painting has certain features and traditions that distinguish it from the representation of urban imagery in Western art. First of all, this is an artistic generalization of the urban landscape as part of the artistic context of nature. It is also important to focus attention on the depicted identities of the urban space (houses, streets, bridges, as well as the nature that surrounds the city, etc.). In addition to this, gohua in its historical development has an obvious tendency to panoramicity and a generalized way of perception, which actualizes a special system of artistic motifs. Within the historical context of Chinese painting, the city often has a symbolic meaning, and its visuality is represented through the symbolism of color, space or emblems. After all, the use of traditional artistic materials and techniques is of great importance, which determines the palette of artistic techniques and directly affects the artistic motifs of the representation of the city. The representation of the city within the gohua reflects the peculiarities of Chinese culture and perception of the world. Cities are considered as part of nature and interconnected with it. This approach gives works of art depth and symbolic meaning. It is substantiated that the cityscape in the context of the general phenomenology of guohua has its own conceptual and terminological niche, which can be translated as “urban ink painting” (都市水墨). In turn, within this niche, the most popular artistic technique is “meticulous painting” (gongbi /工笔画; literally, “working with a brush”). The following typical pictorial and stylistic features of the urban landscape genre within Chinese ink painting, which are characteristic of the modern stage of development of Chinese fine art, have been established: 1) Expressiveness, which is expressed in the artist’s effort to convey not only the appearance of the city landscape, but also the emotional reaction to the landscape; 2) Minimalism: the desire to build an artistic foundation with the minimum number of colors and elements and focus on the expressiveness of details; 3) Line graphics: as a sign reflects the European approach to understanding the technique and imagery of Chinese painting; in the urban landscape genre, it affects imagery by conveying the shapes and contours of objects; 4) Contrast, with the help of which artists create volume, depth and texture of the urban landscape; 5) A separate artistic parameter is symbolism, which is a field of interpretation of the general pictorial and stylistic repertoire

“SHI JING” AND TRADITIONAL COLOR FROM THE POINT OF VIEW OF VISUAL PERCEPTION OF COLOR IMAGE

This article is based on the study of a literary work before the Qin era “Shi Jing” (“Book of Songs”). The article will analyze the combination of perceived color with the literary language before the Qin, realistic reproduction, and symbolic color combination of the color language of “Shi Jing” with a political and educational function through the transformation of visual perception of color. The literary language of color, the “native” traditional colors and the aesthetic characteristics of the Chinese nation will be studied, which is the key to the early formation of the perception of Chinese color culture. At the same time, the color vocabulary of “Shi Jing” and “Songs of Chu” will be compared, aesthetic similarities and differences, as well as symbolic meanings of color in classical works of the south and north of the country will be interpreted. The study of pre-Qin literature and Chinese color culture in three-dimensional space-time, rather than in isolation, deeply explores the aesthetics of traditional colors and the social utility of politics and religion. This need is due to the fact that visual-sensory color research in literary and artistic works is an investigation of the cultural and id “native” color culture demonstrates enormous political and pedagogical utility.