Color Symbolism Research Articles

Color Symbol of Mark Rothko’s Paintings from the Perspective of Analytical Psychology and the Sanative Meaning

Color Symbol of Mark Rothko’s Paintings from the Perspective of Analytical Psychology and the Sanative Meaning

A Study on Aesthetic Treatment through a Coloring Method and a Color Symbol in Go-ryeo Period

A Study on Aesthetic Treatment through a Coloring Method and a Color Symbol in Go-ryeo Period

영화에서 표현된 색채의 특성과 내러티브의 연관성에 관한 분석

Since the first appearance of color film in the late nineteenth Century, the amount of information carried by color films has been increasing day by day, and color has gradually become part of the basic concept of the film. Numerous film researchers and psychologists have added a variety of definitions of colors which have become an indispensable expression of the film. When watching movies, viewers will be affected by changes in lightness and chroma of color in different scenarios. The right use of color can arouse various associations of human life experiences, and certain colors have certain symbolic meanings. The purpose of this thesis is to understand the symbolism and character of color in the film and its relevance to the plot. And to study the implication of colors in human senses and the effect in the film arts. In this connection, the thesis analyzes the symbolic meaning of color in film, and scenarios directed by David Lynch as the research object, analyzes the effect of various colors’lightness and chroma on colors’symbolic value and the correlation between the performance of the color and the relevance of the story. Through these analyses, it can be found that, in David Lynchs films, lightness and chroma are closely related to the plot of the movie Therefore, we can see that the color is indeed symbolic and has an impact on the film plot.

국내 캐릭터를 대상으로 색채 기호분석에 관한 연구

국내 캐릭터를 대상으로 색채 기호분석에 관한 연구

Фотография — сосредоточение разных семиотических кодов

The success of the article in the newspaper often depends on well selected photos. Photography not only attracts the reader’s attention, but it helps to maximize the perceived communicative message of a journalist. It serves different semiotic codes inherent in photography, with its iconic character, namely a triad icon — index — a symbol, different channels of visual communication such as kinesics and color symbolism. Information saturation of the photos has a downside — high manipulative potential.

地方創生のための鹿児島の「黒」を活用した カラーブランディングの検討～鹿児島の黒リストの作成～

地方創生のための鹿児島の「黒」を活用した カラーブランディングの検討～鹿児島の黒リストの作成～

Color symbol in hungarian folk-ballad

인류역사에서 문자보다는 그림, 색채가 의사소통에 훨씬 더 효과적으로 사용되어왔다. 특정 공동체에서 사용하는 색채어가 문화적으로 어떤 의미와 상징을 표현하는 지를 고찰한다면, 그 공동체만의 고유한 역사 문화적 토대를 찾아낼 수 있을 것이다. 구전을 통해 오랫동안 유지되어온, 가장 원시적이고 본래적인 민족적 특성과 문화적 독특함을 보존하고 있는 구비문 학 작품을 대상으로 색채어의 상징을 연구한다면 헝가리의 고유한 민족성과 문화적 특색이 나타날 수 있을 것이다. 본고에서는 헝가리 서사민요 작품에 사용된 색채어가 언어 이면에 품고 있는 내재적 의미를 찾아보면서, 특정한 색채가 헝가리 민족 공동체에게 불러일으키는 정서와 느낌을 분석하는데 목표를 두었다. 우선 헝가리 서사민요에 나타난 색채어의 빈도수를 조사한 결과 빨강, 노랑, 검정, 하양, 초록 순으로 나타났다. 빈도수가 높은 다섯 가지 색채어의 쓰임과, 그 색채어가 불러일으키는 상징을 찾아내고 숨겨진 의미를 도출해내었다. 각각의 색은 다양한 의미를 지니고 있는데 피,희생, 보호, 정열을 의미하는 빨간 색은 가장 많은 경우에 사랑, 사랑하는 마음을 상징하고 있다. 노란 색도 사랑을 의미하지만 주로 무르익은 사랑, 이루어진 사랑, 더 나아가 부패하고 변질된 사랑을 상징한다. 하얀 색은 순수, 순결, 천상적인 힘을 드러내지만 부정적으로 쓰일 때는 죽음을 표현하는 색이다. 하얀 색은 검은 색과 함께 쓰이면서 선과 악, 지고한 정신과 더러운 정신의 대립을 드러낸다. 마지막으로 초록색은 봄, 시작, 부활을 알리는, 풍요와 생산을 도모하는 색이기도 하다. 헝가리 서사민요에 나타난 색채상징에 대한 연구가 완성된다면, 이어서 한국 구비문학의 색채상징과 비교 연구하여, 두 민족이 지닌 고유한 색채상징과 의미의 관계를 도출해 낼수 있으리라 기대한다. 그러므로 이 연구를 통해 헝가리와 한국의 구비문학에 나타난 색채상징을 비교함으로써 두 민족에게 동일한 색채가 드러내는 개별적이고 공통된 상징의 유무와 그 이유에 대해서도 논의를 확대해나가 는 데 기여할 수 있기를 기대한다.Text In the history of mankind, paintings and colors rather than letters mediated communication in that they were understood by all members of a community beyond age and generation. If we can find out what means and symbolizes the special colors in one community, we can understand each community’s special cultural and historical basics. Orally transmitted literature preserves the most primitive and original ethnic characters and cultural uniqueness. I choose the hungarian folk ballad to study color symbols, and finally it is meaningful to find hungarian special ethnicity. This paper deals with color symbols to find a single, clear color symbolism by sorting meanings of a color in folk ballad. Among colors holding significance, colors of red, yellow, white, black, and green will be dealt in this paper, focusing on what they mean and symbolize. Study of basic colors will allow for comparative study of Hungarian and Korean color symbolism, and drawing of conclusion on the two ethnicities’ unique world view, thinking system, and psychology. Therefore, this study can be used for a further study on color symbolism in Hungarian and Korean oral literature, providing a forum for discussion on two ethnicities’ unique or common symbolism.

Effects of background color and symbol arrangement cues on construction of multi-symbol messages by young children without disabilities: implications for aided AAC design

Children whose speech does not meet their communication needs often benefit from augmentative and alternative communication (AAC). The design of an AAC display may influence the child’s ability to communicate effectively. The current study examined how symbol background color cues and symbol arrangement affected construction of multi-symbol messages using line-drawing symbols, by young children with typical development. Participants (N = 52) heard a spoken phrase matching a photograph and selected line drawings within a 4 × 4 array. Friedman two-way ANOVAs evaluated speed and accuracy of multi-symbol message construction under four conditions in which the background color and arrangement of symbols was manipulated. Participants demonstrated significantly faster response times when symbols were arranged by word-class category compared to no symbol arrangement. The majority of children responded faster when symbols had white backgrounds, but this effect failed to reach statistical significance. This study provides preliminary evidence suggesting the importance of symbol arrangement for young children. The findings highlight the need for caution when incorporating background color on displays for young children. Future research is needed to examine the effect of visual cues on children who use AAC and consider additional factors that could influence efficacy of symbol arrangement and background color use.

발레“홍등”의상에 나타난 색의 상징성

The purpose of this study was to determine the aesthetic importance of color by analyzing its symbolism expressed through costumes worn in the ballet Raise the Red Lantern. As methods, a literature review and an empirical study were conducted about the symbolism of clothing colors in this ballet. For the latter, costumes of the ballet’s characters were analyzed according to the color and the symbolism. The main colors used for the characters could be reduced to red, green, yellow, and white. Red is a thematic performance element used directly and indirectly as a tool to express Chinese feelings. Red for the protagonist symbolizes a wedding, passion, love, and death. White reflects purity and sorrow. A series of green for the Madame 1 represents jealousy and hypocrisy. For Madame 2, the series of yellow is associated with jealousy, betrayal, and repentance. Costume colors used with consistency in the performance are expressive means to characterize each role. They reflect each character’s mentality in accordance with the situation. The connotations of color elements for emotion and meaning also play a role in optimizing the completeness of the performance.

Dazzling Blue: Color Symbolism, Kabbalistic Myth, and the Evil Eye in Judaism

The color blue is thought to protect against the evil eye in Mediterranean cultures. This article unfolds the yet-unstudied role played by kabbalistic theology, symbolism, and myth in the construction of the color blue as a protective color for Jews. It traces particularly the development of a medieval kabbalistic myth of a dazzling blue garment of the feminine aspect of the godhead, protecting her from contact with evil forces. The article shows how this myth became the foundation for various practices against the evil eye among Jews in the modern period and contextualizes this myth within theories about the evil eye.

Informative Cues Facilitate Saccadic Localization in Blindsight Monkeys.

Patients with damage to the primary visual cortex (V1) demonstrate residual visual performance during laboratory tasks despite denying having a conscious percept. The mechanisms behind such performance, often called blindsight, are not fully understood, but the use of surgically-induced unilateral V1 lesions in macaque monkeys provides a useful animal model for exploring such mechanisms. For example, V1-lesioned monkeys localize stimuli in a forced-choice condition while at the same time failing to report awareness of identical stimuli in a yes-no detection condition, similar to human patients. Moreover, residual cognitive processes, including saliency-guided eye movements, bottom-up attention with peripheral non-informative cues, and spatial short-term memory, have all been demonstrated in these animals. Here we examined whether post-lesion residual visuomotor processing can be modulated by top-down task knowledge. We tested two V1-lesioned monkeys with a visually guided saccade task in which we provided an informative foveal pre-cue about upcoming target location. Our monkeys fixated while we presented a leftward or rightward arrow (serving as a pre-cue) superimposed on the fixation point (FP). After various cue-target onset asynchronies (CTOAs), a saccadic target (of variable contrast across trials) was presented either in the affected (contra-lesional) or seeing (ipsi-lesional) hemifield. Critically, target location was in the same hemifield that the arrow pre-cue pointed towards in 80% of the trials (valid-cue trials), making the cue highly useful for task performance. In both monkeys, correct saccade reaction times were shorter during valid than invalid trials. Moreover, in one monkey, the ratio of correct saccades towards the affected hemifield was higher during valid than invalid trials. We replicated both reaction time and correct ratio effects in the same monkey using a symbolic color cue. These results suggest that V1-lesion monkeys can use informative cues to localize stimuli in the contra-lesional hemifield, consistent with reports of a human blindsight subject being able to direct attention in cueing paradigms. Because the superior colliculus (SC) may contribute to residual visual capabilities after V1 lesions, and because this structure is important for controlling attentional resources, we hypothesize that our results reflect, among others, SC involvement in integrating top-down task knowledge for guiding orienting behavior.

LEXICAL-SEMANTIC CLASSIFICATION OF THE EXPRESSIONS WITH COLOR TERMS IN THE NOVEL N. HAWTHORNE "THE SCARLET LETTER"

Article is devoted to lexical-semantic classification of word-combinations with the color names in fiction. aim of the article is a lexical characteristic of the language and speech means with the color names in the novel N. Hawthorne The Scarlet Letter. In particular, in article the analysis of color symbols, emotionally expressive and grammatical features of expression of color is carried out. It is known that the functions of color terms in prose and color symbolism are connected with national specifics of the language, language is closely connected with culture. Feature of the lexical filling of N. Hawthorne's novel is a huge variety of words and expressions, representing generally adjectives in combination with nouns (a black shadow); separate adjectives (so black and dense); compound nouns, expressing the shades of the color names ( this rose-bush); tint color terms, which are represented by two adjectives (dark and abundant hair); tone color terms presented in the form of a combination with pronouns (other darksome) ; tint color terms expressed by a noun (the darker); color terms expressed by two nouns (the Scarlet Letter); color terms in combination with a participial phrase. Color naming in the novel mainly contain red, white and black colors and their shades. semantic contrast of the color names gives an indication of the opposites: love and hate, passion and indifference, life and death. Along with the metaphors the author uses comparisons between phenomena. With the help of conjunctions like and as the author manages to create visual images that allow a better understanding of a certain shade of the compared colors. As a result of the analysis it was revealed that the lexical filling of colors is represented in the novel mainly by adjectives in combination with nouns or separate adjectives, compound nouns, two adjectives, combined with pronouns, nouns, two nouns, combined with a participial phrase, idiomatic and metaphorical expressions.

"Red Growth, Yellow Growth, White Growth...": Chromatic Beliefs in Udmurt Folk Medicine and Healing Charms

Traditional culture is one of the key factors influencing our colour perception. The present article aims to analyse the colour concepts and symbolism of Udmurt folk medicine, in particular, healing rituals and charms. Consideration is given not only to the most widespread hues and their specific meanings within magic folk poetry, but also to the combination of colours, which fulfils an important role in emphasizing the efficacy of verbal means of magic. Additionally, the study demonstrates the folk classification of medical conditions based on colour characteristics. It is concluded that colour semantics entirely depends on the pragmatic objectives of healing rituals and charms.

The Topics and Mythopoetics of the Revolution in the Mass Poetry of the Urals between 1917 and 1919

This article considers poetry published in Ural periodicals between 1917 and 1919. It mainly comprises journalistic newspaper verses that are of interest from the point of view of how they reflect public opinion about the events of the 1917 revolutions and the Civil War in the Urals. The range of judgments and assessments of the events in question is determined not only by personal and political preferences, but primarily by the collective notions that are characteristic of mass consciousness. The author of the article concentrates on this aspect. He is interested in stable motifs and images that go back to the collective unconscious of the Ural public. To designate these universals immersed in tradition, he sometimes employs overlapping concepts: topos, archetype, and mythologeme. They assimilate various mental spheres — politics, religion, everyday consciousness, and establish a correlation of an image with timeless scales and thereby take the modeling of that image of the revolution to a higher level of figurative generalisations. The article examines individual figural details and motifs (parallels Revolution — Easter, connections with calendar rituals, seasons, agrarian mythology, colour and light symbols), as well as the meta-story of revolutionary poetry that included the modifying figures of the Hero, Enemy, Victim, depicted Revolution as a struggle and a difficult path to paradise (communism). As a result, the author of the article comes to the conclusion that reliance on common cultural experience based on archetypal principles promotes a profound and fruitful comprehension of life in the era of a historical crisis affecting the interests of the general public.

О НАЦИОНАЛЬНОМ СВОЕОБРАЗИИ ЦВЕТОВОЙ СИМВОЛИКИ В РУССКОМ И КИТАЙСКОМ ЯЗЫКАХ

The article is devoted to the research on the national specific features of color symbolism embodied in color words in the Russian and Chinese languages. In a language system, each color is characterized by cognitive, emotional and information functions for all the peoples of the world. However, in a particular culture each color serves as a special symbol, which can be associated by native speakers with similar or different emotions and reflect rich potential of national cultures. Color words, having symbolic properties, are not only important means to describe the world, but also they perform a cultural-linguistic function to convey emotions of people belonging to different nations. In the Russian and Chinese languages, there are many color words with a strong national flavor. Apart from evoking rich associations and expressing emotional experiences and feelings, they also form a distinct national color culture and have a great influence on human life of the two countries. The vivid contrast between the two languages helps to comprehend the semantic motivation of color words, shades of meanings of color symbolism and cultural identity.

A Study on the Symbolism of Light and Colors of the Stained Glass of the Créteil Cathedral in France

본 연구는 프랑스 파리 남동부의 크레테유에 새롭게 건축된 성당(Cathédrale Notre-Dame de Créteil) 글라스아치에 설치된 스테인드글라스의 빛과 색채의 상징성에 관한 것으로, 현대 교회건축과의 유기적인 관계 속에 존재하는 스테인드글라스의 새로운 표현 가능성을 제시하는 것을 연구목적으로 하고 있다. 크레테유 교구는 지역 신자들의 적극적인 참여를 이끌어낼 수 있는 살아있는 능동적인 교회로 거듭나기 위해 모더니즘 양식으로 건축된 기존성당을 새롭게 확장 신축하는 프로젝트를 진행했다. AS.ARCHITECTURE-STUDIO가 디자인 한 크레테유 성당은 조개껍질 두 개를 맞대어 놓은 형상으로 건축의 두 면의 만나는 연결부에 위치한 글라스아치에 프랑스에서 활동 중인 독일 건축 스테인드글라스 작가 우도 젬복(Udo Zembok, 1951- )의 작품이 설치되었다. 본 논문에서는 색채의 상징성을 극대화 한 우도젬복의 작품 분석을 통해 빛의 감각적 인지를 유도하는 필터로서 존재하는 스테인드글라스의 본질적인 역할과 기능에 대해 고찰하였다. 빛의 삼원색을 메인 컬러로 한 우도 젬복의 스테인드글라스는 색빛(Color-Light)의 상호작용과 색채의 가산 혼합의 결과를 가시화하고 있다. 따라서 본 연구에서는 크레테유 스테인드글라스에 나타난 색의 흐름을 분석하고 그 안에 내포된 상징성을 그리스도교적인 관점에서 해석해보았다. 또한 구상적인 표현이 아닌 빛과 색만으로

동ㆍ서양 상복에 표현된 색채상징 연구 - 흰색과 검정색을 중심으로 -

상복은 상중에 있는 상제나 복인이 입는 예복으로 엄숙하게 갖추어 입는 것은 인간의 생명에 대한 존엄성을 나타내는 것으로, 삶과 죽음의 갈림길에서 죽은 사람을 예로써 보내기 위한 산 사람들의 예의 표현방법이다. 상복이나 수의(壽衣)는 민족이나 문화, 지역에 따라 표현 색상이 다르게 나타나고 있으나 상복 색상의경우 유럽을 비롯한 서구 문화권은 검은색, 아시아 중심의 동양 문화권은 흰색으로 양분화 하여 나타나는것을 볼 수 있다. 이러한 상복의 모습을 당연시하게 볼 수 있으나, 생과 사에 대한 각 문화권의 내재된 상징적의미를 색채를 통해 이해할 필요가 있다. 흰색과 검정색은 인간의 생과 사를 표현하는 원초적인 색상으로동양의 상복에서는 흰색으로, 서양의 상복에서는 검정색으로 나타난다. 동양과 서양의 사상체계와 죽음의의미를 살펴보았을 때, 동양은 삶과 죽음, 영혼과 육체를 하나의 동일선상에서 보는 일원론적 관점으로 우주적 생명과 연관되는 순환적 양태를 보인다. 반면 서양은 영혼과 육체를 분리하는 이원론적 관점으로 죽음이후를 신앙의 문제로 여기거나, 인간이 죽음을 극복하는 순간에 맞추어 사고한다. 동·서양의 사상체계와 죽음의 의미를 살펴보면 동양 상복에서의 흰색은 물질 이상의 것, 순수함과 깨끗함을 의미하는 것으로 죽음을대하는 긍정적인 자세를 나타낸다고 할 수 있으며 죽음을 생의 끝으로 보지 않고 또 다른 생명의 시작으로여겨 태양빛과 같은 흰색을 상징한다고 할 수 있다. 서양 상복에서의 검은색은 죽음 이후의 정의할 수 없는미지의 두려움과 공포의 대상으로 극한 슬픔과 부정성을 표출한다. 또한 16세기 이후 변화한 검은색 상복은살아 있는 자, 남아 있는 자를 위한 색으로 변화되었다고 할 수 있다.

The Representation of Heart in Sheikh Abd El Qurna Private Tombs during the 18th Dynasty

The current research was dedicated to shed light on the heart and its symbolism in the Ancient Egyptian conception; to study the importance of heart in Ancient Egyptian religion; to focus on the representation of heart in both daily and funerary scenes like heart necklace which is represented either worn by the tomb owner or offered to him in Sheikh Abd El Qurna private tombs; to spotlight on the religious symbolism of the different colors and numbers of heart in the scenes decorating the walls of Sheikh Abd El Qurna private tombs; to spotlight on the specific locations of heart in scenes and their relation with the Ancient Egyptian conception. as well as to focus on the chapters dedicated to the heart protection in the book of the Dead. The preliminary results indicated that heart was illustrated in different locations inside the tombs like on the walls of the hall, inner room, burial chamber and passage. Heart was represented in both the funerary scenes like purification and opening of the mouth and daily life scenes like offering food to the deceased in the 18th dynasty private tombs at Thebes especially in Sheikh Abd El Qurna Necropolis.

A Study on Formativeness of Delivery App Icon Design

Objectives: In a number of applications of various functions, icon design is a very important factor in predicting and recognizing the function of app. Thus, we carried out a study on delivery app icon design in line with market expansion of delivery app of more than 1 trillion won. Methods/Statistical Analysis: This study is to conduct the app icon analysis based on the elements of visual design. Three brands with the highest number of downloads were determined as the study target and app icon of the target was analyzed according to the design elements. We were to identify the position of the icon of the current delivery app through the analysis of used colors, contents and layout of images and text including the outermost shape forming the icon. Findings: According to the findings, although slightly different, the corner of all three brands was the rounded square shape and warm colors and colors were used in two brands and one brand, respectively. It seems to allow users to easily recognize the brand with their eyes by using warm colors with the nature of expansion than cold colors with the nature of shrinkage and can be also interpreted because of symbolism of warm colors used in the images of food more frequently than cold colors. For the image use, all three brands of ‘Baedaltong’, ‘People of Delivery’, ‘Yogiyo’ used illustration images. In the image use, a motorcycle or character with the delivery bin symbolizing the symbol of delivery appeared in two brands and the brand name was layed out on the white dish in the remaining one brand. Both direct method directly expressing delivery food and indirect method symbolizing food in a broader sense were used. The text used in the icon was extremely limited and the contents containing modifiers and information including the abbreviation of the brand name were written as the text. This is interpreted as a phenomenon caused by the constraint that needs to describe the features of the app in a small area. Improvements/Applications: This study extends to the rest of brands about delivery app and also it should have added another detailed element for a higher faith.

Evaluating Varied Label Designs for Use with Medical Devices: Optimized Labels Outperform Existing Labels in the Correct Selection of Devices and Time to Select.

PurposeEffective standardization of medical device labels requires objective study of varied designs. Insufficient empirical evidence exists regarding how practitioners utilize and view labeling.ObjectiveMeasure the effect of graphic elements (boxing information, grouping information, symbol use and color-coding) to optimize a label for comparison with those typical of commercial medical devices.DesignParticipants viewed 54 trials on a computer screen. Trials were comprised of two labels that were identical with regard to graphics, but differed in one aspect of information (e.g., one had latex, the other did not). Participants were instructed to select the label along a given criteria (e.g., latex containing) as quickly as possible. Dependent variables were binary (correct selection) and continuous (time to correct selection).ParticipantsEighty-nine healthcare professionals were recruited at Association of Surgical Technologists (AST) conferences, and using a targeted e-mail of AST members.ResultsSymbol presence, color coding and grouping critical pieces of information all significantly improved selection rates and sped time to correct selection (α = 0.05). Conversely, when critical information was graphically boxed, probability of correct selection and time to selection were impaired (α = 0.05). Subsequently, responses from trials containing optimal treatments (color coded, critical information grouped with symbols) were compared to two labels created based on a review of those commercially available. Optimal labels yielded a significant positive benefit regarding the probability of correct choice ((P<0.0001) LSM; UCL, LCL: 97.3%; 98.4%, 95.5%)), as compared to the two labels we created based on commercial designs (92.0%; 94.7%, 87.9% and 89.8%; 93.0%, 85.3%) and time to selection.ConclusionsOur study provides data regarding design factors, namely: color coding, symbol use and grouping of critical information that can be used to significantly enhance the performance of medical device labels.