The Language Of Colour In The Bible

The Bible is one of the books that has aroused the most interest throughout history to the present day. However, there is one topic that has mostly been neglected and which today constitutes one of the most emblematic elements of the visual culture in which we live immersed: the language of colour. Colour is present in the biblical text from its beginning to its end, but it has hardly been studied, and we appear to have forgotten that the detailed study of the colour terms in the Bible is essential to understanding the use and symbolism that the language of colour has acquired in the literature that has forged European culture and art. The objective of the present study is to provide the modern reader with the meaning of colour terms of the lexical families related to the green tonality in order to determine whether they denote only color and, if so, what is the coloration expressed, or whether, together with the chromatic denotation, another reality inseparable from colour underlies/along with the chromatic denotation, there is another underlying reality that is inseparable from colour. We will study the symbolism that/which underpins some of these colour terms, and which European culture has inherited. This lexicographical study requires a methodology that allows us to approach colour not in accordance with our modern and abstract concept of colour, but with the concept of the ancient civilations. This is why the concept of colour that emerges from each of the versions of the Bible is studied and compared with that found in theoretical reflection in both Greek and Latin. Colour thus emerges as a concrete reality, visible on the surface of objects, reflecting in many cases, not an intrinsic quality, but their state. This concept has a reflection in the biblical languages, since the terms of colour always describe an entity (in this sense one can say that they are embodied) and include within them a wide chromatic spectrum, that is, they are mostly polysemic. Structuralism through the componential analysis, although providing interesting contributions, had at the same time serious shortcomings when it came to the study of colour. These were addressed through the theoretical framework provided by cognitive linguistics and some of its tools such as: cognitive domains, metonymy and metaphor. Our study, then, is one of the first to apply some of the contributions of cognitive linguistics to lexicography in general, and particularly with reference to the Hebrew, Greek and Latin versions of the Bible. A further novel contribution of this research is that the meaning is expressed through a definition and not through a list of possible colour terms as happens in dictionaries or in studies referring to colour in antiquity. The definition allows us to delve deeper and discover new nuances that enrich the understanding of colour in the three great civilizations involved in our study: Israel, Greece and Rome.

The Bible is one of the books that has aroused the most interest throughout history to the present day. However, there is one topic that has mostly been neglected and which today constitutes one of the most emblematic elements of the visual culture in which we live immersed: the language of colour. Colour is present in the biblical text from its beginning to its end, but it has hardly been studied, and we appear to have forgotten that the detailed study of the colour terms in the Bible is essential to understanding the use and symbolism that the language of colour has acquired in the literature that has forged European culture and art. The objective of the present study is to provide the modern reader with the meaning of colour terms of the lexical families related to the green tonality in order to determine whether they denote only color and, if so, what is the coloration expressed, or whether, together with the chromatic denotation, another reality inseparable from colour underlies/along with the chromatic denotation, there is another underlying reality that is inseparable from colour. We will study the symbolism that/which underpins some of these colour terms, and which European culture has inherited. This lexicographical study requires a methodology that allows us to approach colour not in accordance with our modern and abstract concept of colour, but with the concept of the ancient civilations. This is why the concept of colour that emerges from each of the versions of the Bible is studied and compared with that found in theoretical reflection in both Greek and Latin. Colour thus emerges as a concrete reality, visible on the surface of objects, reflecting in many cases, not an intrinsic quality, but their state. This concept has a reflection in the biblical languages, since the terms of colour always describe an entity (in this sense one can say that they are embodied) and include within them a wide chromatic spectrum, that is, they are mostly polysemic. Structuralism through the componential analysis, although providing interesting contributions, had at the same time serious shortcomings when it came to the study of colour. These were addressed through the theoretical framework provided by cognitive linguistics and some of its tools such as: cognitive domains, metonymy and metaphor. Our study, then, is one of the first to apply some of the contributions of cognitive linguistics to lexicography in general, and particularly with reference to the Hebrew, Greek and Latin versions of the Bible. A further novel contribution of this research is that the meaning is expressed through a definition and not through a list of possible colour terms as happens in dictionaries or in studies referring to colour in antiquity. The definition allows us to delve deeper and discover new nuances that enrich the understanding of colour in the three great civilizations involved in our study: Israel, Greece and Rome.

"The Colour Bible is one to return to again and again." - Elephant "This definitive guide...will no doubt inform many future colour choices." - House & Garden An essential source for graphic designers, artists, interior designers, fashion designers, illustrators and creatives of any kind who work with colour. Colour is intrinsic to the human experience; it guides us with subconscious visual cues throughout our lives. Get it right in your design or art and you can enhance mood and atmosphere, and create a desired psychological or even physiological effect. The Colour Bible is a contemporary handbook for navigating this fascinating world of colour. It dives into 100 profiles of significant colours and tracks them through their genesis, historical usage in art and design, and contemporary connotations and uses. - A potted history of each colour - Key colour associations from around the world - Contemporary connotations and brand design - Practical advice on how to use and combine colours in your work

This vibrant and prismatic exploration of 100 essential shades is an invaluable resource for designers, artists and content producers that will also delight nonprofessionals interested in learning about how color shapes our lives. From ancient plant pigments that are revolutionizing contemporary fashion to new colors, such as the recently viral Millennial Pink, this wide-ranging deep dive into the world of color guides readers through the origins, connotations, specs, brand associations and artistic use of colors throughout history. Unfolding, like a rainbow, across the visible spectrum, the chapters are divided by basic color - from red to violet and including black and white - and introduced with engaging background information. Each chapter takes a closer look at a variety of specific shades in the color family, delving into cultural references that span fashion, art history, traditional and modern crafts, and product design. Readers will learn about woad - an ancient pigment that was employed by William Morris and has resurfaced in sustainable dyes - as well as the earliest known use of violet some 25,000 years ago. Each shade is accompanied by sidebars that offer technical specifications, mood connotations, and examples of its use in art and commerce. Informative and endlessly inspiring, this guide will be indispensable to anyone interested in how to use and combine colors in their life or work.

This volume is the result of the 2021 session of the Linguistics and the Biblical Text research group of the Institute for Biblical Research, which addresses the history, relevance, and prospects of broad theoretical linguistic frameworks in the field of biblical studies. Cognitive Linguistics, Functional Grammar, generative linguistics, historical linguistics, complexity theory, and computational analysis are each allotted a chapter, outlining the key theoretical commitments of each approach, their major concepts and/or methods, and their important contributions to contemporary study of the biblical text. As academic disciplines and academic publishing proliferate and become more complex in a digital and global context, synthesising volumes such as this one have taken on new importance for both specialists and generalists alike. That is particularly the case in interdisciplinary areas of research. This volume therefore sets out to make linguistic theory clearer and more accessible to biblical scholars in particular, not only by careful explanation but also by specific illustration, drawing upon ancient Hebrew, Aramaic, and Greek languages within the Christian biblical corpus. The volume assists the reader in distinguishing the separate assumptions and scope of study for the separate theories, recognising methods of approach that can be applied to any of the theories, and the role of an umbrella theory to enable all the others to fruitfully interact. The bibliographies provided are structured for the non-specialist, noting handbooks, companions, and glossaries, general introductions, and foundational texts. In so doing, this volume presents not only a fully up-to-date cross-section of linguistic research in biblical scholarship but also an explicit path into the field, while highlighting important avenues for continued investigation and collaboration.

"The Colour Bible is one to return to again and again." - Elephant "This definitive guide...will no doubt inform many future colour choices." - House & Garden An essential source for graphic designers, artists, interior designers, fashion designers, illustrators and creatives of any kind who work with colour. Colour is intrinsic to the human experience; it guides us with subconscious visual cues throughout our lives. Get it right in your design or art and you can enhance mood and atmosphere, and create a desired psychological or even physiological effect. The Colour Bible is a contemporary handbook for navigating this fascinating world of colour. It dives into 100 profiles of significant colours and tracks them through their genesis, historical usage in art and design, and contemporary connotations and uses. - A potted history of each colour - Key colour associations from around the world - Contemporary connotations and brand design - Practical advice on how to use and combine colours in your work

With more tha 4,000 enteries, this dictionary is the first of its kind: a treasury of color words and phrases, a comprehensive resource for exploring every aspect of color.

Is racial conflict determined by biology or society? So many conflicts appear to be caused by racial and ethnic differences; for example, the cities of Britain and America are regularly affected by race riots. It is argued by socio-biologists and some schools of psychoanalysis that our instincts are programmed to hate those different to us by evolutionary and developmental mechanisms. This book argues against this line, proposing an alternative drawing on insights from diverse disciplines including anthropology, social psychology and linguistics, to give power-relations a critical explanatory role in the generation of hatreds. Farhad Dalal argues that people differentiate between races in order to make a distinction between the 'haves' and 'must-not-haves', and that this process is cognitive, emotional and political rather than biological. Examining the subject over the past thousand years, Race, Colour and the Processes of Racialisation covers: * psychoanalytic and other theories of racism * a new theorisation of racism based on group analytic theory * a general theory of difference based on the works of Fanon, Elias, Matte-Blanco and Foulkes * application of this theory to race and racism. Farhad Dalal concludes that the structures of society are reflected in the structures of the psyche, and both of these are colour coded. This book will be invaluable to students, academics and practitioners in the areas of psychoanalysis, group analysis, psychotherapy and counselling.