Color Symbolism Research Articles

Color Symbolism and American Dream in Luhrmanns The Great Gatsby

Color Symbolism and American Dream in Luhrmanns The Great Gatsby

Symbolism of Colour of the Vietnamese National Garment Áo Dài: Historical Foundations, Development and Interpretations

This paper is an attempt to analyze the color symbolism of traditional Vietnamese o di costume, as well as to identify and characterize the main reasons and peculiarities of transformations in this sphere. The symbolic model of color is considered in the context of language, socio-historical and cultural processes.
 The focus is on women's traditional costume, as it has undergone far more extensive changes than mens and has a much broader scope of use today.

Symbolic Images Associated with Color in Folk Songs

This article discusses the historical basis of the creation of symbolic images associated with color in Uzbek literature, the role of folklore in folklore. Symbolic images associated with color serve to enhance the art, charm and impact of Uzbek folk songs. In folk songs, color symbols have been explored using examples as a means of expressing ideas clearly, succinctly, and figuratively.

Empat Wajah Topeng Indonesia: Karakteristik Tradisi Pada Budaya Jakarta, Cirebon, Malang, dan Bali

Indonesian as a country rich in cultural values has a myriad of unique and distinctive traditional cultural arts relics in each region. Art, whatever form it takes, can be a place to accommodate all the aspirations of its people. So that art itself is not only considered a form of “beauty”, but also a representation of the characteristics of a society in question. With the variety of arts in Indonesian, this research focuses on mask arts, especially in performing arts and mask carving art. The interesting thing about the art of this mask is only seen when there is a connection between the masks on the island of Java, especially the Malang, Cirebon, and Jakarta areas with masks in Bali. Therefore, through research with a qualitative descriptive approach has identified the characteristics of tradition in mask art in Bali, Cirebon, Jakarta, and Malang. It is called mask art because there are characters and stories in these masks. This study received a discussion about the position of the four mask-producing areas as an effort to document the oral traditions that developed in the area concerned. This research ultimately resulted in the result that there is homologism and coherence of structures between the masks in Bali, Malang, Cirebon, and Jakarta, both in term of the historical spread of the mask itself, the color symbols used, musical instruments played, the stories of the shows raised, to the characteristics of the mask carving itself.

Symbolism in the English and Russian fairy tale folklore: comparative analysis

The subject of this research is the symbolism in the English and Russian fairytale tradition. The object is the texts of the Russian and English fairy tales. Analysis of the texts reveals the typical functions performed by symbols in both folklore traditions. The author provides the examples of symbols and offers the interpretation of objects-symbols, symbols-zoonyms, color and number symbols, time and space symbols. Comparative study of folklore heritage of non-cognate languages reveals the fundamental commonness of a particular folk genre of different peoples in their perspective upon reality, methods of depiction, and ideological interpretations. The scientific novelty consists in conclusions obtained in the comparative study of the symbolism of fairy tale texts in the Russian and British folklore, which is important for determination of linguistic, semiological and cultural universals. The comparative study of folklore material of two traditions in the sphere of the poetics of folklore reveals the traditional universals and unique features on the level of symbolism of the fairy tale genre. Within the framework of the article, the author analyzes the functionality of thematic, animalistic, color, spatial-temporal, and numerical symbols. The acquired results are underpinned by a large number of text examples.

Культурные коды новой реальности мультилингвального пространства и межъязыковые контакты (сквозь призму исследования цветообозначений)

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.

«О, где ты, Россия моя?»: образ России в лагерных стихах А.И. Солженицына

The article deals with A. Solzhenitsyn camp poems, pertaining to the early and underresearched part of his oeuvre. The analysis is centered around the image of Russia. In his poetry, Solzhenitsyn formulates the basic artistic characteristics of this image, that are further developed and deepened in his prose. The image of Russia consists of two toposes: “the visceral Russia”, that embodies the author’s ideal, as well as “the orphaned Russia”, that reflects the country’s “pain points” or its most acute problems. The image of “the visceral Russia” is created under the influence of Christian traditions and the early lyrics of S. Yesenin. Its key elements are landscapes, pantheistic dissolvment in the world of nature, hesychasm and related to it notions of silence and color symbolism. The image of “orphaned Russia” is divided into “the free Russia” and “the Gulag Russia”. It echoes A. Blok’s poetry and demonstrates the historically ambivalent and dramatic sides of Russian history. Despite the spatial categorizations, the lyrical hero’s perception of his motherland is not fragmented, but objective and multi-sided. Like the author himself, he views Russia as a whole in all of its struggles and contradictions.

Students' understanding of plant classification using the PLANTA-FUN card game media

UNO card game-based learning media have been developed with various modifications. Therefore, there is a need for studies that describe the role and meaning of the symbols used in UNO card media on students' understanding. The purpose of this study is to describe the profile of students' understanding who were stimulated by symbols of meaning in the PLANTA-FUN card game media on plant classification material. The PLANTA-FUN card game media is a modification of the UNO card game created by combining the colors and images of the key-living creatures. This research was conducted using Mixed Method Research (quantitative-qualitative). Pre-test and post-test to determine students' understanding of classifying the plants. In addition, interviews were also conducted to evaluate students' understanding of the meaning of the symbols. Based on the pre-test and post-test results, the t-value (8.612) > the t-table (2.101). So it can be seen that there was an increase in students' understanding after learning using the PLANTA-FUN card game media. Based on the interview, symbols of meaning in the form of images and colors on the PLANTA-FUN card game media can help stimulate students to remember and think. The key character images of plants used in this media can naturally visualize plants so that students can quickly identify the characteristics that appear in these plants. At the same time, the color symbols that represent groups of living things can quickly stimulate students in recalling groups of plants. Combining these two symbols of meaning can improve students' understanding of plant classification learning material.

“Crouching Tiger, Hidden Dragon”: the Representation of the Far East Countries in the Russian Caricatures of 1890-1905

This article is devoted to the zoomorphic images of China and Japan in the caricatures published in the Russian periodical press from 1890 to 1905. The aim of the study is to analyze the mechanisms of building images of the Other by creating a comic effect, as a strategy for overcoming cultural aphasia. The study focuses on the caricature technique of zoomorphism, or giving the Other an animalistic form. Within the framework of the article, we examined the possibilities of caricature as a means of political communication and analyzed its tools for expressing the changing political situation, including opportunities for the actual transformation of the image. In addition, the reception of zoomorphism as a shift in the natural/innate domain in the gradation from “prey”, “noble animal” to “beast” was examined. According to the results of the study, the image of China as a dragon and the images of Japan as a dog or monkey as well as the symbolism of the yellow color and exotization as a method of alienation are of most interest. Furthermore, the issues of the imperial discourse of the Russian Empire, which was formed, among others, under the influence of the colonial discourse of the leading European powers of that time, the problem of orientalism as well as the question of self-identification of Russia within the framework of the “East-West” opposition, were discussed. The article is intended for everyone who is interested in the history of the development of political caricature in Russia and those who study the theoretical and practical issues of creation of the image of the Other.

Cultural Implications in Basic Color Terms “Black” and “White” in Chinese and English

Color is a kind of human perception towards the objective world. In intercultural communications, the English people and the Chinese people are different in many aspects, and their perceptions of various color symbols are not the same. Color words in English and Chinese languages have rich connotations and play a very important role in both cultural manifestations and ethnic customs. This article discusses the Chinese and English symbolic meanings of the two color words, “black” and “white” in Chinese and English cultures. By comparing and contrasting these two words’ differences in the two cultures, we can deepen understanding of the two cultures, overcoming the conflicts and promoting Chinese and English cross-culture exchanges and communications.

Symbolism of the blue/light blue color in the English and German publicistic texts

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.

Сакральная природа белого камня в храмовом строительстве Андрея Боголюбского

The article deals with the issues of the sudden appearance of white-stone construction in the middle of the XII century in the North-East of Russia, in the Vladimir Principality, which are practically not affected by science. The purpose of the study is to identify the most likely sources that influenced the process of origin and formation of the unique style of Vladimir-Suzdal architecture during the reign of Andrei Bogolyubsky (1157–1177). The research methods were reduced not only to the analysis of the Old Testament texts, with which the Great Vladimir Prince was well acquainted and admired their heroes during the construction of his white-stone churches, but also to the identification of the peculiarity of the current situation, individual facts of the prince's activity and the nature of his character, which became an active incentive to the introduction of white stone instead of bricks, which took a sacred character for Andrey Bogolyubsky. The result of the study is as follows: first, the symbolism of the white color, drawn from the biblical testaments of the consubstantial God, became the leitmotif for the architectural creations of the Vladimir prince; second, the perceived Old Testament building traditions stimulated the growth of original forms of Vladimir-Suzdal white stone architecture, which have no close analogies in the entire area of neighboring countries. In the light of the current inclusion of white stone buildings in the UNESCO World Cultural Heritage, the aspect of their study not only brings scientific novelty to the already established interpretation, but also entails a rethinking of the practical orientation of restoration and restoration work on them.

The Functions of Visual Representational Meaning in Supporting the Ideational Meaning in Cambridge Guess What Pupil’s Book

In a learning context, students are usually faced with images and texts, especially in textbooks they carry around with them. Nowadays, meaning-making rarely depends on language alone. Sometimes, the combination between image, color, sound, and action symbol have been considered as paralanguage no longer play a subordinate role in modern communication. This research aims to explain 1) the existence of visual representational meaning and the text ideational meaning in Cambridge Guess What Pupil’s Book 6, 2) the function of visual representational meaning and the text ideational meaning in the Cambridge Guess What Pupil’s Book 6, and 3) the function of visual representational meaning and the purposes of the texts in Cambridge Guess What Pupil’s Book 6. The findings showed the existences of the visual representational meaning and the ideational meaning of the texts. They had the same participants and processes. However, not all clauses on the texts had the same participants. There were only several clauses that had the same participants with the figures. It meant visual representational meaning only could visualize the description of the same participants or visualize the narration of the same processes.

Analyzing the Costume Colors of Little Women in the Movie

This study was aimed at revealing how symbolic images of colors convey the mood of the movie and the psychological changes of characters through color analysis of costumes by characters in the movie Little Women (2019). Through this, we examined how psychologically reflected colors express the theme or atmosphere of the movie. As a research method, after understanding the association of colors and considering prior research, each character s costume color was analyzed, and symbolism was derived. The six scenes selected for each character are believed to have a strong visual color transfer power while showing the characters and images of the movie. After mosaic pixelation of the costume, the color was extracted using the Photoshop spoid tool. Considering the expressiveness of colors and tones, the color symbolism was derived after analyzing scene descriptions, costumes, colors, and hue and tone. According to the analysis, Meg expressed a gentle and calm image as the feminine and oldest child in light purple and various tones of green, while Jo, a projection of the artist, showed strong red and navy colors, exhibiting passion and courage as opposed to the female figure of the time. Beth, who died of illness, expressed a delicate and passive image in murky pink and light purple, while Amy, the youngest, showed a feminine and self-centered personality in sky blue and white. The film s costume revealed that color images were reflected as a medium for expressing the character s personality, taste, and psychological situation and that they symbolically convey the dramatic atmosphere or the main character s emotional changes.

조선 후기 모란도에 나타난 상징성과 회화성에 관한 조형 분석 - 형태와 색채를 중심으로

The purpose of this study is to identify original form and colors for Korean aesthetics through conducting a formative analysis of peony paintings which were hugely popular and developed in the late Joseon period, and quantitatively measure colors in peony paintings which bear Korean image and turn them into data. The study covered peony paintings showing popular aesthetics from the 19th to the early 20th century, during which such paintings were produced and developed most actively. The form analysis as the study method was analyzed qualitatively. In limiting subjectivity, images in the literature were compared with the author’s appreciation of the artworks based on the picturesque formative theory depending on the peony style paintings in the late Joseon period. For color analysis, the author identified colors from common people’s views based on colors quantitatively measured from peony paintings, turned them into data, and suggested that it is necessary and possible to modernize peony paintings in today’s world. The results showed that there were the modification, abstraction, exaggeration, simplification, design, and popularization of form in peony paintings in the late Joseon period; symbolic colors from painted objects expressed common people’s aesthetics, highlighting the ideal(abstract) expression of colors. More notably, some artworks expressed soft and diverse colors, unlike other peony paintings in the late Joseon period. This study holds significance as it identified form in peony paintings-which used to be dominated by symbolism-from a picturesque perspective and quantitatively turned them into data colors in peony paintings, which have been studied mostly conceptually. Furthermore, this study is expected to expand and utilize other studies in related fields in the future.

The Color Palette in the Work of the Iranian Writer Rаziye Tujjar

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.

Сolor and Space in the Traditional Сulture of the Оirats of Мongolia and the Kalmyks of Russia

The traditional culture of homo mobilis has been the subject matter of research both in Russia and abroad. It is the nomadic way of life, largely of the past, that has come into the focus of scholars. This applies, in particular, to Kalmyks, the heirs of the Oirats, who came in the 17th century from Western Mongolia to the steppes of the Northern Caspian region. Nomadic herders explored and developed a vast area resorting to the traditional form of farming. Thousands of years in the constant movement of nomadic life and close linkages with the natural environment affected not only their way of living, but also their cosmovisions, i. e. perceptions of the world. From the point of view of nomads, the “middle world” (the world of people) exists in close contact with heaven and earth. Heaven is the founding father, the creator of all things, the source of everything that happens on earth. This image of the world is associated with a dialectical idea of the mutually exclusive and complementary phenomena of arga and bilig. The philosophical teaching of the Mongols, arga-bilig, extends to the traditional symbolism of color, which expresses ideas about interrelation between the Universe and a Man. The artistic embodiment of religious and philosophical ideas, developed in detail within the worldview of the Oirats of Mongolia, has been further elaborated in the cross-border culture of the Kalmyks of Russia. They preserved and transformed the traditional symbolism of color and space. Comparative analysis of artistic traditions accompanied by the usage of methodologies of history, ethnocultural studies, art history and philosophy enables one to identify the common and different between the cultures of the Oirats of Mongolia and the Kalmyks of Russia.

Числовая и цветовая символика в романе Дж. К. Роулинг «Гарри Поттер и философский камень»

The research aims to identify the main quantifiers and colour terms used in the first part of the Harry Potter heptalogy by J. K. Rowling which play an important role in creating the magical world of the novel. The article deals with an analysis of the symbolic meanings which are characteristic of the numbers and colours traditionally used in fairy tales, legends and works of the fantasy genre. Scientific novelty of the paper lies in studying symbolism of numbers and colours in modern English in a comprehensive manner based on the material of the popular literary work. As a part of the study, the researchers have analysed phraseological units containing quantifiers and colour terms, determined their symbolic meanings and functions in the novel, as well as carried out a statistical analysis. As a result, the most important and frequent quantifiers and colour terms that help the author to portray magical characters and give readers the sense of “being there” have been identified.

Understanding of White Color in the Art of Valerian Gaprindashvili

The article “Understanding of White Color in the Art of Valerian Gaprindashvili“ analyses what symbolic weight colour have in belletristic works, especially in poetry. In the paper the main attention is drown on sensation of color in Valerian Gaprindashvili's creativity. Color as comparison, as epithet, as metaphor, symbol and manner of allegoric description has exclusive charge in the artistic and cogitative system of any great creator. The aim of the article is colours’ structural-semantic analyze and to gain argumentive materials.The theme is actual because nowadays the interest on colour indicating vocabulary is increasing and Georgian linguists paid their attention on it as well. The survey showed that Georgian symbolists were very interesting phenomena in studing colors. Color artistic analyze has an important part in Valerian Gaprindashvili works. White color dominates in poesy of Val. Gaphrindashvili. As a result of analyzing the symbolism of colors white color is considered as a symbol of light. In some cases white color is symbol of coldness, austerity and in other ones is symbol of concinnity. One can meet black, red, blue, green and yellow colors as well that have semantic charge in his poetry.Color symbols are changeable through time and culture. According to this studying the theme fully is not possible. We can summarize that color is esthetic phenomena and reveals the traits of so called “mark” which is the foundation of color symbols.

An Analysis of the Symbolic Meanings of Colors in Beloved

In Beloved, Morrison successfully used color symbolism to reveal the victimization of the blacks’ society under slavery. The color symbolic image in this novel plays a great role in the profound thoughts and themes. In this novel, the author’s description of color not only reflects the differences in the living environment of black and white people, but also reflects the spiritual world of black people. Therefore, it is of practical significance to study the color symbol of Beloved. This paper focuses on the symbolic meaning of color words in Morrison’s novel Beloved, to provide some valuable references for scholars to study the image of color in the future.