American Journal Of Philological Sciences
73
https://theusajournals.com/index.php/ajps
VOLUME
Vol.05 Issue07 2025
PAGE NO.
73-77
10.37547/ajps/Volume05Issue07-19
Historical-Genetic Foundations of Colour Symbolism
Ro'ziyeva Mohichehra Yoqubovna
Doctor of Philosophy (PhD) in Philological Sciences, Professor, Uzbekistan
Received:
26 May 2025;
Accepted:
22 June 2025;
Published:
24 July 2025
Abstract:
This article explains the organic connection between the concept of colour, human thinking, archetypal
systems, and cultural layers. The symbolic meanings of colours are revealed through colour psychology,
philosophical understanding methods, and comparative analyses in historical development. This topic is
extensively analysed based on examples related to various folk concepts, religious beliefs, and mythological
images.
Keywords
: Colour, mythology, symbolism, totemic views, religious attitudes, white colour, black colour, red
colour, symbolism.
Introduction:
Colour symbolism is an integral part of
human thought and culture, with its roots extending
back to ancient mythological concepts, religious
beliefs, folk oral traditions, and customs. In the culture
of Turkic peoples, the symbolic meaning of colours has
deep roots, through which people expressed their
perceptions of nature, society, and the world. For
example, white colour signified purity and sanctity,
while black colour represented sorrow, suffering, and
sometimes negative forces. These colours were not
merely external appearances, but possessed inner
meaning and aesthetic significance. Similarly, great
thinker-scholars such as Al-Farabi, Ibn Sina, Mahmud
Kashgari, Najmiddin Kubra, and Alisher Navoi
specifically emphasised the role of colours in language
and culture.
In modern research, colour symbolism is studied in
relation to poetic thought, folklore, and religious-
spiritual heritage. The concept of colour emerged from
the earliest stages of human thought, and its semantics
are organically connected to the most ancient symbolic
systems. Colours in mythological consciousness were
associated with spatial, temporal, and energetic
concepts, occupying a central place in the worldview of
archaic societies. Through anthropological and
mythological analysis, the fundamental meanings of
colours, their role in ancient worldviews, their
functions, and their archetypal content are revealed.
Since ancient times, humanity has drawn inspiration
from natural phenomena. Similarly, various colours,
flowers, and ornaments have captured human
attention. People began to see in colours not only
aesthetic beauty but also spiritual delight. Over time,
colours began to acquire spiritual and symbolic
meaning in human consciousness. Thus, like many
other peoples, Turkic peoples have since ancient times
attributed symbolic and national-spiritual value to
colours.
METHODOLOGY
Colour is one of the fundamental, permanent, and
essential elements of folk culture, playing an important
role in the process of forming, assimilating, and
preserving in memory a system of concepts with
archetypal and national characteristics. Over time,
colours acquire complex layers of meaning. For this
reason, contemporary research on colour is based on
the analysis of concepts such as semantics, symbolism,
informational value, imagery, myth, and signs. Colour is
no longer merely a physical phenomenon, but has
become a symbolic idea with profound content.
The symbolic meaning of colours in Turkish history first
attracted the attention of Western Turkologist
scholars. For example, Hungarian scholar Professor A.
Alfoldi, German Turkologist Annemarie von Gabain,
and another German Turkologist I. Lude-Cirtautas, as
well as the famous writer Goethe, have extensively
covered this topic.
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American Journal Of Philological Sciences (ISSN
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2771-2273)
Among the Turkic and Mongol peoples, dividing the
world into four directions and marking them with
specific colours was an integral part of ancient
cosmological views. According to Gabain's writings,
from the Turkic perspective:
•
East
—
green or blue (sky),
•
West
—
white,
•
South
—
red (al-qizil),
•
North
—
black,
•
Centre
—
yellow.
This concept existed in China, Turkestan and Mongol
culture, as well as in ancient Mayan, Roman, Greek and
Egyptian civilisations, but each people expressed it in
their own distinctive interpretation.
Among the Mongols and other nomadic peoples, there
were morning ceremonies where they would prostrate
themselves to the elements of nature (fire, water, air,
earth) according to the four main directions. Some
tribes believed that there were 'good and bad sides of
the sky' towards the north pole. Five-coloured banner
ribbons (green, white, red, black and yellow) stood as
symbols of these beliefs. Among the Mongols and
Chinese, the 'five-coloured banner' was customary as a
symbol of the sky god. Also, the historically famous Mo-
tun Khan:
•
To the west
—
with white horses,
•
To the east
—
with blue horses,
•
To the north
—
with black horses,
•
To the south
—
their campaigns with red
horses have come down to us through historical
sources.
Ancient Turks saw an organic connection between
colours and directions. Colours were also reflected in
geographical place names. For example, the Black Sea
(in the north) and the White Sea (in the west) were so
named.
The belief in the four directions of the sky, their colours,
and the elements associated with each direction
existed not only in China but also among the nomadic
Turkic peoples. In the pre-Islamic period, there was a
daily morning ritual of paying homage to the directions
of fire, water, air, and the spirits of the deceased. On
the flags of nomadic Turks, five colours
—
green, white,
red, black, and yellow
—
always held special symbolic
meaning. These colours represented meanings
corresponding to the directions of the world. In Turkic
mythology, colours were not merely aesthetic tools but
were understood as political, religious, and multi-
layered symbolic instruments. In images such as 'White
Father', 'Blue Sky', 'Black Earth', 'Black Grandmother',
and 'Red Mother', colours exist not just as external
appearance but as cosmogonic ideas. The 'Diwan
Lughat al-Turk' provides a classification similar to the
above information but with significant variations: white
represents East, red represents South, blue represents
North, black represents West, and the centre is marked
with a yellowish colour (this earth
—
the human centre,
meaning the axis of life). The connection of colours with
the four sacred directions is part of the mechanism for
creating a world model in the ancient Turkic worldview.
This model is based on shamanistic and religious
foundations. However, because belief theories shaped
the colour-related views of both Turkic and European
peoples, diverse approaches emerged. This created
differences related to each nation's culture. Colours
acquired deep meaning in religious-philosophical
thought, serving in each religion and belief system as
symbols for understanding divine truth, spiritual
purification, and connection with cosmic forces. In
Islam, shamanism, Buddhism, Christianity, and other
beliefs, the mystical and archetypal content of colours
has deep roots.
In Islam, colours have acquired symbolic meaning
through
Quranic
verses,
hadiths,
and
Sufi
interpretations. Green is mentioned in the Quran as the
colour of paradise garments: "They will wear green silk
and brocade garments in paradise..." (al-Insan, 76:21).
This colour is widely used in Sufism as a symbol of
sanctity, life, renewal, and blessing.
White, on the other hand, is mentioned in hadiths as a
symbol of purity and lawfulness. Prophet Muhammad
(peace be upon him) said: "Wear white clothing, for it
is most fitting forcleanliness, and shroud your dead in
white cloth." For this reason, in Islamic ceremonies
—
particularly in pilgrimage attire (ihram), funeral rites,
and during prayer
—
white clothing is considered
preferable.
Black has dual meanings in Islamic beliefs: on one hand,
it is the colour of the Kaaba's covering and represents
respect, protection, and humility; on the other hand, in
Quranic and hadith interpretations, it is sometimes
interpreted as a symbol of darkness, sin, and hell.
In Sufism, spiritual stations are expressed through
colours. For example, Sufi masters such as Ahmad
Yassavi, Jalaluddin Rumi, and Bahauddin Naqshband
connect colours in their works with the stages of heart
purification: black represents ignorance, white
represents enlightenment, and green represents truth
and a sign of spiritual ascension. In Sufism, there exists
the concept of 'Anvari sab'a', which refers to seven
different colours. These colours are blue, yellow, red,
black, green, and white, which reflect the purification
of the soul, the ascension from one spiritual rank to
another, and appear in the mystic's spiritual journey.
American Journal Of Philological Sciences
75
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American Journal Of Philological Sciences (ISSN
–
2771-2273)
The end of Anvari sab'a is colourlessness, that is,
transparent light.
According to Najmuddin Kubra, the blue colour signifies
that the mystic has entered the path of repentance and
fully observes the laws and regulations of Sharia.
Yellow colour represents the awakening of love in the
heart, a sign of closeness to Allah. Red colour
symbolises the ascension of the spirit and the opening
of the passion for enlightenment. White colour
represents the purification of the heart. Green colour
signifies the heart's immersion in the beauties of the
unseen world. The symbol of the state of returning
from the Divine to creation is the black colour.
Furthermore, according to Kubra's classification, white
colour reflects Islam, yellow colour reflects faith (iman),
blue colour reflects excellence (ihsan), green colour
reflects trust, sky-blue colour reflects complete
certainty (yaqin), red colour reflects gnosis (irfan), and
black colour reflects the state of wonder.
The spirit also takes various forms - sometimes red,
sometimes yellow, sometimes black, occasionally
turning white - appearing in different colours to
represent materiality. Therefore, the concept of the
seven attributes (atvori sab'a) reflects the practice of
contemplation in Navoi's poetry, as with all great Sufi
and mystical poets.
In Alisher Navoi's work 'Nasoim-ul muhabbat', the
views of Sheikh Saididdin Farghani are cited: 'The
khirqa (Sufi robe) has two types of attribution: one is
the khirqa of spiritual will, which cannot be rightfully
obtained from anyone other than a sheikh, and the
other is the khirqa of blessing. The latter may rightfully
be obtained from many masters for blessing.' The
colour of the khirqa is black, blue, and white. Those
newly initiated into the tariqa wore black robes, those
who had reached a certain level wore blue, and those
who had completed the spiritual journey wore white
robes - though this had become customary, blue held
greater prestige among robe-wearers. Hujwiri explains
the meaning of his statement 'Sufis' clothing is often
blue' as follows: 1. The path taken by Sufis is based on
travel and journeying. White clothing gets dirty quickly
during travel. 2. The second meaning of wearing blue
refers to the misfortunes and sorrows that befall those
(whom fortune has favoured), as 'the world is a land of
disasters, a ruin of calamities, a desert of grief, a place
of torment for those burning in separation, and a
fortress of affliction. Disciples and those with spiritual
resolve wear blue because they have seen and known
that their heart's desires cannot be fulfilled in this
world...' 3. There was another group of Sufis who could
not protect their conduct and actions from faults, from
corruptions of the heart, from wasting time in vain. For
this reason, they never removed the blue robe from
themselves.
In shamanism, colours serve as signs of communication
with spirits, ritual powers, and multi-layered worlds
(upper, middle, and lower). Among Siberian, Turkic,
and Mongolian peoples, white is associated with the
upper celestial realm, blue with the sky god, red with
fire and sacrifice, and black with the underworld.
In shamanic clothing, buttons, ribbons, and belts of
various colours serve special semantic functions. For
example, black ribbons open the path to the spirits of
the dead, while white is used to summon sacred spirits.
These colours are chosen according to the type of
ritual, its purpose, and spiritual status.
M. Eliade emphasises that in shamanism, colours are
"codes that connect with transcendent worlds", and
writes that through colours, the shaman travels
upwards or downwards.7
Colours are widely used in Uzbek folk epics, wedding
ceremonies, folk songs, and proverbs. For example,
white represents purity, honesty, and innocence; black
represents sorrow, difficult trials, and strength; red
represents love and life; blue represents the sky and
permanence. Popular expressions among the people
such as "white intention", "black day", and "red
flowers" confirm this.
Similarly, Sh. Turdimov has proven in his research that
colours in folk oral literature constitute the core of the
"fundamental poetic symbols" system. According to his
classification, white, black, and red colours are
considered the permanent symbolic centre, while
other colours are interpreted depending on the
situation.
In Bashkir traditional clothing and patterns, colours
indicate social status. Red represents power, struggle,
and joy; blue represents the sky and spirituality; white
is associated with purity and the spirits of ancestors.
Bashkir researcher R. Ishmuratova writes: "Colours in
Bashkir folk oral literature are encoded with specific
values: for example, blue represents not only the sky,
but also freedom and love of liberty."
Colours in Uyghur culture
Among the Uyghurs, colours are associated with
mystical and traditional Islamic contexts. Green is the
colour of prophets, white represents moral purity, and
black signifies historical trials and sacred soil. In Uyghur
literature, these colours are often used in harmony
with imagery.
According to researcher Y. Abdurehim, in Uyghur folk
epics, red represents devotion and love, white
symbolises patience and salvation, and black is the
central symbol of life's difficult trials.7
American Journal Of Philological Sciences
76
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American Journal Of Philological Sciences (ISSN
–
2771-2273)
DISCUSSION
Through colours:
•
Cosmic structure (world directions),
•
National identity (flags, clothing, customs),
•
Religious concepts (shamanism, Islam),
•
Social hierarchy (military ranks, symbols of
rulership),
•
National pride (symbols, slogans, festivals and
emblems) are expressed. Colours in the history of
Turkic peoples are considered a significant means of
communication that has preserved cultural unity and
continuity. Therefore, even today, Turkic peoples
understand their historical roots and ancient culture
through colours.
For example, the colour green has long been
considered a symbol of life, growth, spring, nature's
awakening, and blessing. In folk songs, the colour green
is used in various contexts:
•
Green garden, green meadow, green land
(forest)
—
these places often serve as the environment
where events begin, appearing as the scene against
which the characters' actions unfold.
•
Green leaf, green vine
—
symbols of love,
youth and hopes and dreams.
•
Green belt
—
in the male image, a symbol of
strength and power, new life, and virility.
This colour is associated with vitality and harmonises
with values that represent natural energy.
2.2. Red Color
The red color is interpreted in folklore thinking at two
main poles:
Positive: beauty, love, celebration (for example: red
girl, red sun, red flower dress); Negative: danger, blood,
war, fierce struggle, intense emotional experiences (for
example: red tear
s, red grave stone). “Red” —
in
ancient times meant “beautiful.” For this reason, in folk
creativity, the word red is used as a synonym for beauty
and goodness.
In songs: A red flower bloomed in the stony place, Your
memory has also crushed my heart.”
Here
, “red flower” is a symbol of love. This color holds
a deep place in folklore as an external expression of
human experiences and psychological states.
2.3. White Color in folklore:
A symbol of purity, innocence, loyalty, divinity; Images
of marriage and innocence, white dress, white scarf;
Sometimes related to emptiness, loneliness, death:
“white cemetery,” “white dust” and so on. In folklore
texts, the white color often comes with valuable images
such as “pure heart,” “white soul,” “white mother's
milk.”
2.4. Black Color in folklore thinking has more negative
connotation:
A sign of mourning, sorrow, evil, death; “Black night,”
“black hair,” “black soil,” “black sorrow” —
expresses
deep emotional anguish. However, in some cases:
“Black hero” –
a strong, brav
e, warrior image, “Black
horse” –
a symbol of military valor, movement, danger.
"Black horse"
–
a symbol of military courage, action,
and danger. This situation in folklore shows the
ambivalence of the color black: it expresses both
negativity and strength and willpower.
2.5. Blue (light blue) color in folk oral creativity:
A symbol of sky, eternity, spiritual peace, calmness;
“Blue sky,” “blue river,” “blue terrace” –
a source of
happiness, dreams, and desires. Additionally, the blue
color also comes with the semantics of longing and
separation. This indicates that it is a unique symbol
between goodness and sorrow.
2.6. Golden and silver colors in folklore often:
Represent noble, divine lights, patterns on the robes of
sultans or princes in folk epics; “Golden hair,” “silver
belt,” “golden heart” –
symbols of beauty and high
virtue. Through these colors, the people express their
ideal
–
perfection, prestige, and purity.
RESULTS
According to linguist A. Kononov, the use of colors in
“Dīwān Lughāt al
-
Turk” and “The Book of Dede Korkut”
reflects not only the language of that era but also
serves as an example of semantic stability: “In the
medieval Turkic language, the semantic scope of each
color term was clearly defined, and it has remained
almost unchanged in
today’s Turkic languages.”
Indeed, the research reveals that in the folklore of
Turkic-speaking peoples such as Uzbeks, Kazakhs,
Kyrgyz, Turks, Bashkirs, Tatars, and Karakalpaks, the
color-related expressions and symbolic poetic images
are semantically similar, often repeating and enriching
one another.
Colors have also played a significant role in the rituals
of all Turkic peoples. These colors are deeply
embedded in the customs, traditions, and ceremonies
of these nations. When compared, the following
commonalities can be observed:
•
Weddings
: white and red
–
representing the
harmony of purity and passion;
•
Funerals
: black and white
–
symbolizing
seriousness and sanctity;
•
Spring rituals
: green
–
symbolizing renewal;
American Journal Of Philological Sciences
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American Journal Of Philological Sciences (ISSN
–
2771-2273)
•
Harvest festivals
: yellow and red
–
representing abundance and strength.
Moreover, in the worldview of Turkic peoples, colors
are imbued not only with physical attributes but also
with profound national, spiritual, and symbolic
meanings. Through colors, they express:
•
worldview (cosmogony),
•
beliefs (shamanism and Islam),
•
historical heritage (flags, clothing, traditions),
•
social structure (rank, status),
•
cultural continuity (spiritual values passed
down through generations).
For Turkic peoples, colors have served as:
1.
indicators of existence,
2.
reflections of social consciousness,
3.
symbolic means of connection with the world.
CONCLUSION
In Turkic peoples, the symbolism associated with colors
is a rich expression of national consciousness, culture,
and ancient beliefs. Colors serve not only as visual and
poetic tools, but also fulfill cognitive, axiological
(evaluative), and ethnolinguistic functions in conveying
cultural values.
Overall, the symbolic meanings assigned to colors by
different peoples remain an integral part of their
culture, language, and collective mindset.
In folk oral traditions, colors are not only artistic and
aesthetic devices but also form an important system of
symbols reflecting the people’s historic
al memory,
spiritual world, and social consciousness. In folkloric
texts (such as fairy tales, epics, songs, and proverbs),
colors function as unique poetic codes, deepening the
meaning of events and the characteristics of the images
portrayed.
Thus, colors are an inseparable component of oral folk
creativity, through which the worldview, value system,
and historical experience of the people are reflected via
artistic imagery. This highlights the significance of
philological and folkloric analysis of color symbolism as
a distinct and important direction in modern scholarly
research.
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