A combination of red and black clothes. The symbolic meaning of red and black

The colors white-red-black are a stable triad in the symbolism of color. It is found in many ancient cultures. In the texts of the Upanishads, it serves as a color expression of the qualities (gunas) of material nature - goodness-passion-ignorance. In many symbolic systems, these colors also correlate with the main elements, qualities, organs, character traits, etc. (for example, in the Chinese "Canon of Changes", where yellow and blue (or green) colors are added to the basic triad).

Bazyma A.B. Color and psyche

1.1. Color and magic among primitive peoples

In the rock art of primitive peoples, three colors are most often found - white, black and red, which allows us to conclude that these colors played a special role in the life of ancient people. As various researchers emphasize, the predominance of these colors cannot be explained, for example, by the ease of their extraction. The leading significance of these three colors is confirmed by the study of the magical rites of the primitive peoples of our time living in Africa, South America etc. Special merit here belongs to the English ethnographer W. Turner (1983), who collected a large amount of factual material on the "color classification" from primitive peoples, in particular, the African Ndembu tribe.

Observations of the rites and rituals of the Ndembu, as well as conversations with members of the tribe, allowed V. Turner to describe in detail the symbolic meanings of the three "primary" colors in the life of primitive man.

The Ndembu associate these colors with the three rivers (essences) of the one God they represent. The specific symbolic meanings of each color (river) are as follows.

1. Good;
2. Source of strength and health;
3. Cleanliness;
4. Security;
5. Strength;
6. Absence of failures, tears, death;
7. Headship or power;
8. Meeting with the spirits of ancestors;
9. Life, health;
10. Conception or birth of a child;
11. Hunting prowess;
12. Generosity;
13. Remembrance of the spirits of ancestors;
14. Friendliness;
15. Eating food;
16. Reproduction;
17. Visibility to the eye (clarity, openness, accessibility);
18. Maturity or maturation;
19. Ablution;
20. Lack of ridicule.

Among the given values, we do not find a single negative one. In general, white color means good, goodness, happiness, development for Ndembu.

This generalized meaning of white is universal for all primitive peoples, both ancient and modern. White for them is a symbol of being, peace, life.

White paint was used in those magical rituals of primitive people in which they appealed to the forces of goodness and life or protected themselves from the influence of evil spirits and deities. White color attracted good gods and scared away evil ones. The most important of these rituals were those of birth, initiation, marriage, and death.

Let us dwell in more detail on the role of the white in the funeral ritual. The white color for the ancients did not have negative meanings, and even more so, it was not a symbol of death, a mourning color. What is the meaning of its use in this ritual? Life was presented by primitive people as a sequence of births and deaths. The deceased member of the tribe was not considered to have disappeared without a trace, finally gone into oblivion. Death was seen as a transformation, a transition to a new quality. The deceased was either embodied in a newly born member of the tribe, or became a spirit, a deity. Therefore, the presence of a white person at a funeral (painting the deceased with white paint, etc.) is not negative, but indicates " new life»deceased tribesman.

White color was also used as a protective agent against the evil eye and spoilage. Evil forces could not harm a person, animal or dwelling if they were marked with white paint, or had white amulets.

White also played an important role in the ritual of sacrifice. Good gods and spirits sought to sacrifice white animals, or painted white.

For primitive people, white is not only a visual and sensual symbol, but also a concept that expresses the basic moral and ethical principles of behavior. So among a number of African peoples there is still a custom to swear by their liver. If the swearer wants to emphasize that his intentions are honest and he does not harbor any evil intentions, then he specifically indicates that he has a “white liver”. It makes sense, therefore, to talk about the regulating role of white in the behavior of primitive people, as a kind of criterion by which people organized their behavior. In this aspect, white can be seen as psychological sign- i.e. a means of controlling a person's mental functions and behavior. As W. Turner (1983) points out, Ndembu has a concept of "white behavior". It meant to be obvious to fellow tribesmen, i.e. - do not retire, do not plot bad things, etc., in other words, be “clean”.

What are the origins of the symbolism of white among primitive people? V. Turner believes that the roots of the symbolism of white (however, like other primary colors) should be sought in the psychobiological experience of a person. Undoubtedly, the connection of white with the two most important liquids (tissues) human body- seminal and dairy, which were considered sacred by ancient people. Recall that the Ndembu interpret white as one of the rivers of the supreme deity. Seminal and milky fluids underlie human life, being the principles from which primitive man counted his existence and therefore their color received the meanings of good, life, health, etc. In addition, white is light, the day when a person is most active and active, when he perceives his surroundings clearly and distinctly. Optically, white is the standard of purity, the opposite of chaos and dirt, and therefore serves as a model for the purity of thoughts and behavior. These are the main psychobiological sources of the symbolism of the white color, allowing you to understand it. magical meaning in the life of primitive man.

The second most important color in the life of primitive people was black. If white meant light, then black meant darkness, if white meant life, then black meant death, white meant purity and order, black meant dirt and chaos. Thus, black is the antipode of white. Optically, the contrast between white and black is the strongest; the symbolic meanings of these two colors are also contrasting. White and black are dual symbols and, as H.E. Kerlot (1994), like all dual formulas, has a direct connection with the great Gemini myth. Members of the dual pair (people, animals, plants, etc.) have opposite colors, which reflects the opposition of the two worlds.

As an example, here are the most important symbolic meanings of black for Ndembu (W. Turner - 1983).

1. Evil, bad things;
2. Lack of luck, purity;
3. Suffering;
4. Diseases;
5. Witchcraft and sorcery;
6. Death (including ritual);
7. Sexual attraction;
8. Night, darkness.

Black is the antithesis of white, the opposite side of life. All the most negative things in the life of primitive people were expressed by black. Evil forces, hostile to man, in the ideas of the ancients had a black color. Unlike "white" "black magic" appeals to the forces of evil, and leads a person to death and damnation.

Most important values black - non-existence, death, chaos, destruction. Black color is used in magical rituals, the theme of which is related to death, the end or interruption of something, interference in a person's life by hostile forces, etc. From this, the role of black in the ritual of initiation becomes clear. Painting the bodies of initiates with black color meant their ritual death - the end of the previous stage of existence.

Black was also used to protect against the evil eye and damage, but the meaning of this symbolic protection is different from white. If evil, according to the idea of ​​primitive man, in principle, has no power over white, then the use of black meant that its carrier did not possess anything that could be worthy of envy. Based on this, black dots, animal ink, houses (black keystone), etc. were applied to the faces of newborns.

Black was considered the color of evil witchcraft and witchcraft. The "black magicians" were treated with fear and hostility. Black paint was applied to the dwellings of people suspected of evil witchcraft. The expression - "he has a black liver" means a person with evil intentions.

Despite the fact that everything negative in the life of a primitive man was symbolized by black, this color had not only negative meanings, but also positive ones, that is, unlike white, it was an ambivalent symbol. For example, among the tribes of the arid regions of Africa, black is revered as the color of rain clouds, and people with especially black hair are considered beautiful. The connection between black and sexual desire is interesting. Among the Ndembu, black is considered a color that excites sexual passion, so the women of this tribe specially blacken their genitals. In the event of a successful sexual intercourse on the wedding night, black ashes are scattered at the threshold of the newlyweds.

The origins of the symbolism of black must also be sought in the psychobiological experience of primitive people. Black is the absence of light, the night when a person's activity is reduced, and he cannot navigate well in the environment, becomes defenseless against the elements and predators. Black is the absence of consciousness, a dream like death, the color of ashes and decay. The Black River is the river of death and oblivion. E.P. Blavatsky (1888) and J.G. Frazer (1911) noted that among primitive peoples, black symbolizes the inner or underground sphere of the world, the Hidden Source from which comes the original (black, occult or unconscious) wisdom.

The red color concludes the triad of "primary" colors for primitive people. Unlike white and black, it belongs to the chromatic colors and is the most ambivalent symbol of all three. According to V. Turner, for Ndembu, red expresses the so-called. "red things" that are made of blood or red clay. The symbolic meanings of red are determined by the "kind" of blood:

1. Animal blood;
2. Blood of the placenta (parturient woman);
3. The blood of all women (menstrual blood);
4. Blood circumcision procedures;
5. Blood murder;
6. Blood of sorcery and witchcraft (associated with necrophagy).

All "red things" are divided into two categories, depending on whether they bring good or evil. But, regardless of their valency, all "red things" have power, because. blood is strength, without it a person dies.

Strength is the main meaning of red and this explains its role as a magical tool. For example, in a ritual dedicated to the birth of a child, red dots were applied to the newborn's head, genitals and other parts of the body so that he would grow up healthy and strong (E. Wunderlich - 1925). According to the same author, the drawing of a red hand in front of the entrance to the primitive cave served to scare away evil demons. Painting the faces of warriors with red paint, magically, was supposed to give them strength and courage and at the same time frighten the enemies. As a symbol of strength, red was also used as a remedy for evil eye and slander.

Already primitive people considered red to be a healing color capable of healing wounds and restoring health. For this purpose, red rags or clay were applied to the affected areas of the body. They also applied blood to objects they wanted to revive (H.E. Kerlot - 1994).

Red played an important role in the rites of purification. Members of the tribe who participated in the circumcision procedure had to wear red objects on their hands and neck for a certain time.

In combination with white, red makes up the so-called. “life-affirming couple”, symbolizing good forces, power, honor, power and wealth. Paired with white, the negative values ​​of red are leveled and, conversely, the combination of red and black enhances the negative aspects of red, gives it an ominous character, and from the point of view of ancient magic, symbolizes evil forces.

The symbolic meanings of red are explained by its connection in the minds of the ancients with blood. Red is the third river of the supreme God, the color of one of the most important fluids of the human body. Moreover, the connection of red with blood for the primitive consciousness is more significant than with fire.

The primacy of white, black and red in color symbolism is observed in almost all living African tribes with a primitive communal organization. These are Dogons, Mans, Baktu, Semangi, Sakai and others (L. Griale - 1950, V. Turner - 1983). A similar picture is observed in Madagascar. Among the primitive tribes of this island, black expresses base, unpleasant, evil; white - joy, light, hope, purity; red - strength, power, wealth, success (A. Leib - 1946). Australian Aboriginal cave paintings are also mostly made with these three colors. Their white symbolizes water, and red - blood (S. Mountford - 1962). In practice, similar meanings of "primary" colors are observed in North America among the Cherokee Indians: white - peace, happiness; red - success, triumph; black - death.

There are other colors in the palette of primitive people. Specifically blue and yellow. But these colors are not "independent". Yellow "gravitates" (in symbolic terms) to white, and blue to black.

The fundamental similarity of color symbolism among the primitive peoples of different parts of the world allows us, following V. Turner, to interpret the color triad as an archetype of man. For primitive man, the three "primary" colors are not just differences in visual perception of different parts of the spectrum, but an abbreviated or concentrated designation of large areas of his psychobiological experience, affecting both the mind and all senses, and associated with primary group relations. Since this experience has its source in the very nature of man, it is universal for all people as representatives of the human race. Therefore, the symbolic meaning of the color triad is fundamentally similar in various cultures.

1.2. Color symbolism in ancient India and China

In India and China, from ancient times to the present day, there are developed systems of color symbolism. Teachings about colors are considered esoteric and are fully transmitted only to initiates. Separate fragments of these teachings are contained in the monuments of philosophical and religious literature that have come down to us.

The color triad occupies a leading place in these teachings, and the symbolic meanings of colors are in many ways similar to those noted in primitive cultures.

Here is what the Chandogya Upanishad (comments by Shankaracharya) says about this: “The red color of (material) fire is the color of the primary fire, the white color of (material) fire is the color of primary waters, the black color of (material) fire is the color of the primary earth. So everything that is usually called fire disappears in fire, modification is just a name that appears in speech, and only three colors (forms) are true ”(cited by W. Turner - 1983). According to the Chandogya Upanishad, the whole world is three-colored (three-fold). So the food eaten breaks up into three parts: the heaviest, dark part (black) becomes feces; the middle part turns into flesh (red); and finally the lightest part becomes the thought (white). The same is true of drinking water, which breaks down in the human body into three parts: urine (black), blood (red) and prana (white).

In another philosophical work, Sankhyakarika Ishvarakrishna, the three "basic" colors correspond to the three gunas or "threads of the existence of the world" - sattva, rajas and tamas. Guna sattva means "being", its color is white, symbolizing purity and serenity. The second guna - rajas (red) is active start that generates karma. The third guna - tamas (black) can be understood as a state of constriction, lethargy, a tendency to lethargic apathy.

These examples show that in ancient india"basic" colors were symbols of the main world (cosmic) forces that make up parts of the universe (see also Mahabharata, Ramayama, etc.).

The basis of the foundations for the ancient Indians - the sun (Brahman, the main Veda and the highest deity) does not have a specific color, can only be comprehended in thinking, and not sensually. It contains any colors, more precisely, generates them. Hence there is the concept of "invisible light", "black sun", etc.

Light and darkness (white and black) were understood as a unity, darkness was the otherness of light. In the Rigveda, this unity is expressed as follows: fire, pure and bright in the sky, leaves black stripes on the ground (or a burnt object); rain, black in the sky (in the form of rain clouds), becomes transparent on the ground (M. Schneider - 1946).

Deities of lower rank have a certain, stable color (Mahabharata). The color of the goddess of love is white, death (Kali) is black and red, the goddess of motherhood is red, because. it is associated with the principle of creation, activity, which is expressed in red (H. Zimmer - 1946). In general, good gods and powers were denoted in white, while evil ones in black or a combination of black and red.

China

In ancient China, color was also considered as a symbol of the most important forces and elements. According to esoteric teachings, three series of symbols (shades of colors, constituent and natural elements, feelings and reactions) come from a common source that operates at the deepest levels of reality (H.E. Kerlot - 1994). In the "Book of Changes" ("I Ching") we find the following system of color symbolism (see Table 1.2.1.), Based on the principles of the theory of correspondences.

Blue (green) and yellow were added to the list of "primary" colors in ancient China. L.N. Mironova (1984) points out that among the ancient Chinese the concepts of blue and green were interchangeable, and there was no clear difference in the color designations of these two colors, perhaps because green was seen as a product of blue.

The color and the element symbolized by it for the Chinese were not rigidly connected with each other. The same power could have several color symbols depending on the state of this power or element. So light blue was a symbol of the midday sky, and black with a small amount of red (Xuan) - predawn, meaning the birth of light in the depths of darkness (Shchutsky Yu.K. - 1960).

In Chinese symbolism, color expressed social status: each social group match your color. For example, yellow was considered a sacred privilege of the imperial family (A. Beaumont - 1949). Colors were divided into "noble" and for the common people, as it is said in the "book of songs" ("Shi jing").

In the doctrine of the primary essences of Yin and Yang, there is also color symbolism. Yang is white (yellow) and Yin is black (blue).

Comparing the content of color symbols among primitive peoples with the color symbolism of Ancient India and China, we can conclude that it is fundamentally similar, and hence the unity of the roots of color symbolism in the most diverse cultures, separated in time and space. According to V. Turner (1983), the color symbolism of the world principles has ancient origin, perhaps pre-Indo-European, and the monuments that have come down to us are later philosophical speculations on this topic.

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"RED AND BLACK"

Exhibition presentation

From the hidden light of eternal rest.
With white hope
all colors are born!
Bonds. L

Symbolic meaning red and black
Exhibitions are the hallmark of any library. Exhibition work is one of the main activities of the library, which allows you to open the book fund, advertise books, draw readers' attention to the anniversaries of writers and poets. Making an exhibition is a rather laborious process that requires material costs, as well as the moral strength of the decorators. Only that exhibition, which the reader perceives as his own, interesting to him, can be considered truly held, having fulfilled its tasks. They can be used to judge the level and style of work of employees, their creative capabilities. A bold and unconventional look - without this, the exhibition work in the library will not achieve its goal.
From the practice of exhibition work, we can conclude that modern readers will pay attention to the exhibition only if it is unusual, relevant. Confirmation of the above is the recently created exhibition-installation "Red and Black". Such a concept as an installation has recently entered contemporary art.
An installation is a collection of objects, the composition, shape, color, texture of which should evoke certain associative images in the viewer. The Red and Black exhibition is precisely an installation, a work of art. Moreover, compared with a conventional installation, the impact on the viewer is even stronger, since great value has the content of exhibited objects – books. The field of perception expands many times over, capturing the entire “cultural person”, because culture is based on a text, a book. Such an exhibition helps the prepared reader to pay attention to those books and genres that have not yet been in the range of his interests.
Why did we turn to this topic, the topic of color? Colors are constantly present in our environment, at home, at work, at school, in stores, having a strong influence on people. Color affects our well-being, mood and even work efficiency. People have long recognized the life-giving influence of color. History testifies that the color from ancient times led mankind into admiration and amazement. Despite modern high technologies, the world returns to the study of color again and again with unflagging interest. We are all surrounded by various oscillations and vibrations, sound, light and others. Each new day is not like the previous one, everything around is changing. The only thing that remains unchanged is that color continues to be an integral part of the world around us.
Our exhibition is a means of comprehending the symbolism of color, namely red and black. These colors are contrasting, but they complement each other, being in harmony. These colors are present literally in all spheres of our life: liturgy, iconography, heraldry, alchemy, fiction and fine arts .
The exhibition consists of six sections: "Comprehension of the Symbolism of Color", "The Spiritual Power of Color", "Magic of Color", "Looking Through the Mysterious Veil", "Tell the Color Open Sesame" and " Black Rose is the emblem of sadness, the red rose is the emblem of love.
The first section "Comprehension of the symbolism of color" reveals the meaning of black and red - as a symbol. Johann Itten said: "Colors are a radiant force that affects us in a positive or negative way, whether we are aware of it or not." When we turn to the study of color, it turns out that its influence is much more extensive than it seems at first glance. Our consciousness and subconscious constantly react to color. Color represents our environment. It affects everything we touch, what we eat and drink, everything around us. Color, and especially red and black, helps humanity to comprehend own history. With the help of color, we, being in our time, can "dig" to the roots that go deep into the past.
Black red- two stages of Suprematism, in which art and philosophy are combined.
Black is the color that has the power to pass judgment. Hence the black robes of the members of the supreme court. Black is able to control the situation. But not with the help of physical strength, like red, but thanks to secret knowledge. Black color uses every opportunity to maintain its power. This color may also indicate that a person is in need of external control. This is often dictated by fear. Everything is not as black and bad as it seems. True black is extremely rare. Black absorbs any color and none "releases".
Red color - this is a pioneer, he sweeps aside all barriers and prejudices. He pushes a person, forcing him to tirelessly move, no matter where exactly. Red paves the way and destroys foundations. Red is like a frying pan that you sit on: it forces you to instantly jump up and run.
In this section, we have revealed the secret of the alchemical symbolism of color.
In the symbolism of alchemical color, four stages of the alchemical process were designated by four colors: black denoted the state of "primary matter" - a symbol of the soul in its initial sinful state, at the beginning of work, a sign of the dominance of lower forces , as well as a symbol of the shadow or dark side of personality according to Jung. White color meant the simplest work, the first transformation, the resulting metal - mercury . Red is a sign of passion, its substance is sulfur . And the final stage is the obtaining of gold, or the philosopher's stone, also called an elixir.
The second section of the installation exhibition is dedicated to the “Spiritual Power of Color.” The artist V. Kandinsky in his article “On Spiritual Art” described the spiritual power of color as follows: “Color is the keys, the eye is a hammer, the soul is a multi-string piano…”
In books on art: “Late Russian Icon of the End of the 18th-19th Centuries”, Raphael “Album of Reproductions”, “A. Rublev. From the collection of the State Tretyakov Gallery”, etc. and reproductions presented in the section, you can find answers to questions related to the symbolism of red and black colors, often found in Christian icon painting, and it becomes clear what the ancient Russian icon painters wanted to express using these colors in their work.
Red color - the symbolic color of the martyrdom of Christians. In the divine language of symbols, red is the color of Divine love. The concept of red as the color of love goes back to fire, which brings warmth. Seraphim, who occupy the highest position in the hierarchy of angels, are closest to God and, “being in the divine heat”, are usually depicted in red. Red is the color of worship during Holy Week, Palm Sunday and the Day of the Holy Cross. The red color is used in the church on the days of the celebration of the descent of the Holy Spirit. The Holy Fathers said: "Shed your blood and you will acquire the spirit."
Do not forget about the black color, because at first Noah released a black crow , and then a white dove. Black color- night, darkness, death, sadness
But in Orthodoxy and in other Christian denominations, black is the color of the devil, ugliness, and therefore the sin of his redemption by Jesus Christ.
For example, we have chosen several icons in which red and black colors dominate. Icon "Nikita beating the demon" (1844) In the center of the icon depicted St. Nikita in military armor, in a fluttering orange-red coat armed with a sword and holding a demon on a chain.
Icons of the Holy Great Martyr Demetrius of Thessalonica. Particular attention is drawn to two icons of the same plot “The Miracle of Demetrius of Thessalonica” (XIX century) and “The Miracle of Demetrius of Thessalonica the Peaceful” (XVIII century). The depiction of the feat of this saint continues ancient traditions and is distinguished by high artistic merit. Masterfully conveyed the movement of the horses of Demetrius and the defeated king Koluyan, named in the icon Mamai. If a black horse the saint - proud, triumphant, smartly decorated - victoriously beats Mamai with a horseshoe in the right eye, then the white horse - defeated, with a disheveled mane - falls with Mamai into the abyss.
The third section is called "The Magic of Color" is an excursion to unknown world colors, and not just colors, but the shade in which the name of each person is painted. For, as Homer wrote in the Odyssey, " Between living people, no one is nameless, at all; at the moment of birth, everyone, both low and noble, receives his name from his parents as a sweet gift.
After all, the name of each person has its own color. The name is given at birth, a person recognizes these sounds, vibrating in a special way. The sound of the name is synchronized with a certain wavelength of light. The name is a colored label of a person with certain color characteristics. The name is nothing more than a series of deaf and sonorous sounds that make up the original "melody" and together are unique. color scheme. Readers are given the opportunity to determine the color of their name themselves using the color catalog published in Lilian Bonds' book The Magic of Color.
Is there any connection between the character of a person and the color of his eyes? Some psychologists in recent times tend to believe that this is the case. An information sheet with a description of each eye color will help you find out the features of your character.
The magic of color makes a huge difference when planning the color scheme for your home or garden plot, in the preparation of flower arrangements.
The color scheme of your home is one of the most important elements of the interior. Color is present in all finishing materials and furnishings. Whether your home will be cozy and comfortable, or, conversely, “cold” and annoying, largely depends on the choice of color scheme. In order not to make a mistake in your choice, you need to know the basics of color theory. You can understand all the variety of colors and shades along with the book by N. Kuprisov. “Harmony of the color of your home”, advice is given by extra-class designers.
When composing a flower arrangement Special attention should be given to the color of the plant and artificial material included in its composition. The arranger, as well as the artist, must know the basic properties of color, color combinations by tone, as well as various emotional effects on a person. The photo album of N. Naumova will help to compose the composition correctly. "Flowers' mysterious power."
And how beautiful and saturated the language of color is: "crimson ringing", "pink dreams", "red girl", "blue cities", "white crow", "golden heart", "black and white". This list is endless, and it is these phrases that help us in everyday life. With their help, you can express your feelings, desires, characterize a person as a person.
Fourth section- "Looking through the mysterious veil" reveals a beautiful world visual arts. The main contrast here are two paintings: Black square» Kazimir Malevichai "Bathing the Red Horse" famous artist K. Petrov-Vodkin.
The first is Kazimir Malevich's Black Square."Black square, according to the Russian artist A. Benois - the main focus in the booth of the newest culture",
It would seem that it could be simpler: a black square on a white background. Anyone can draw this. But here's the mystery: this painting by the Russian artist Kazimir Malevich, created at the beginning of the last century, still attracts researchers and art lovers. She is called the main symbol of the Russian avant-garde. They say that Malevich, having painted Black Square, for a long time told everyone that he could neither eat nor sleep, and he himself did not understand what he had done. Disputes about the "Black Square" have not subsided for almost 100 years. And this means that the artist succeeded in the main thing - he woke up the thought, made people take a fresh look at the familiar, turned on their imagination.
The second painting by a famous artist K. Petrov-Vodkin. "Bathing the Red Horse" The picture also has its own unusual history. After all, inspiration came to the artist when he saw the icon of St. George the Victorious. Here is how I.S. Nenarokomova writes about their meeting: “They finally met - Petrov-Vodkin and the Red Horse. It was the horse of George the Victorious. Fragile, thin-legged, he carried a huge rider. The horse was as graceful as a chess piece. The rider is formidable and straightforward, like his smashing spear.
I was thrown into a fever, and the next moment there was suddenly such calmness that the palms of my hands became cold. The Russian icon, the Russian spirit, frankness and height of thought, naivety and the finest craftsmanship - this is it, the land of the Russian artist!
There are a lot of scenes in red tones in the paintings of Robert Falk: “Self-portrait in a red fez”, “Still life with a red pot”, “Red furniture”, “Lady in red”, “Woman in a red bodice”, etc.
The saturation of red and black tones is complemented by such books with reproductions of paintings: “Painting of the 20-30s” (K.S. Malevich. Red House, I.A. Puni. Red Violin, A.V. Kuprin. Pink, purple and black flowers. etc.), Elena Romanova "Album of reproductions" (Self-portrait in a red sweater), G. Ostrovsky "The Story of Russian Painting" (I. Aivazovsky. Black Sea.), etc.
On the shelf there is a picture of our Gubkin artist Khadartsevich O.M. "Bathing of the Red Dragons", which basically consists of red tones of different shades.
The next section is titled Tell the Color Open Sesame. What secrets about red and black have remained closed to us? “Sesame has opened” and we have before us the political, national and state symbols of color.
Red color symbolizes throughout the world the revolutionary struggle against the exploiters. It was first used in this sense during the anti-feudal uprising of Iranian peasants in the province of Torgan in 162 AH (778-779). One of the last uses of red during revolts in the East in the pre-imperialist era dates back to the middle of the 19th century (1850-1864), when red military banners were used during the Taiping Rebellion in South China. Since 1917, red has been a symbol of the proletarian revolution and communism.
Black same color politically interpreted in XIX-XX centuries different. In Western Europe, since the Lyon uprising of the weavers in 1831, it has symbolized the labor movement, mainly in France, Italy and Spain, and as such, as a symbol of rebellion, has been adopted by anarchists of all countries (November 21, 1991, the Anarcho-Syndicalist Confederation in Moscow held day of the 160th anniversary of the Black Banner). In Russia, in 1879, he was recognized by the people of the People ("Black Redistribution"). At the same time, black is the color in the countries of Central, Northern and of Eastern Europe was identified mainly in the 19th century with clericalism, and hence later, from the end of the 19th century, with reaction in general.
The section presents revolutionary posters in which bright red color dominates: “Red Lotus of the Revolution”, “Red Gift to the White Pan”, etc. The books “Satire in the Struggle for Peace”, “Satyrs of the World in the Struggle against Imperialism”, because it is with the help of red and black colors that the satirists in their posters are fighting for peace.
National and state symbols of color. It includes the official interpretation of the colors of the state flag and the main state emblems, as well as colors, historically attached to this or that people or country as national.
Often national and state the colors do not match, because the state colors may not reflect the national characteristics of the people, nation, but the class character of the state, its form of government, or have a dynastic and ideological significance associated with the previous history of this state, and not with the ethnic characteristics of the nation or nations inhabiting it. For example, in Russia in the XIV-XV centuries, the banner of the Grand Duke of Vladimir was black colors; Tsar of Moscow and All Russia - red, regular, colors. An illustration of red and black banners over the troops is presented. Detail of the icon "Battle of Novgorodians with Suzdalians". XV century
Our exhibition ends with a section under the romantic title "Black rose - the emblem of sadness, red rose - the emblem of love."
What does red and black mean in the creative quest of writers and poets, to express what feelings they use these colors. The richness of the red color was excellently said by Alexander Grin in his “ scarlet sails”, that we can only repeat these magnificent lines. " Gray looked at the light with such a multitude of scarlet stripes that the counter, littered with them, seemed to flare up. A purple wave lay on the toe of Gray's boot; a rosy glow shone on his arms and face. Rummaging through the light resistance of the silk, he distinguished colors: red, pale pink, and dark pink; thick boils of cherry, orange and gloomy red tones; here were shades of all forces and meanings, different in their imaginary relationship, like the words: "charming" - "beautiful" - "magnificent" - "perfect"; hints lurked in the folds, inaccessible to the language of sight, but the true scarlet color did not appear to the eyes of our captain for a long time ... Finally, one color attracted the disarmed attention of the buyer ... This color, completely pure, like a scarlet morning stream, full of noble fun and royalty, was the proud color Gray was looking for. There were no mixed shades of fire, poppy petals, play of violet or lilac hints; there was also no blue, no shadow, nothing to be doubted. He glowed like a smile with the beauty of a spiritual reflection.
On the shelf there are books with the colors indicated in the title of the exhibition, or the content of these books is somehow correlated, or their design: red and black colors dominate on the bindings and in the illustrations.
Stendhal "Red and Black", Veresov "Black Raven", Iris Murdoch "Black Prince", Sasha Cherny "Poems", V. Tikhvinsky "Gypsy Romance", V. Shukshin "Kalina Krasnaya", etc.
A magnificent addition and decoration of the exhibition are colorfully decorated details: E. Yevtushenko’s poem “Black Currant”, the lyrics of the songs “Black Raven”, “Black Cat”, “Red Rowan Leaves”, “Black Horses, White Horses” and much more.
In conclusion, I would like to say that the preparation and holding of such exhibitions - installations are important not only for library readers, but also for the librarians themselves. It opens up truly unlimited creative opportunities for improvement in the profession. The installation helps to more fully reveal the library fund, and to open it from all sides, create an additional incentive for reader activity, open something new to him and arouse in him a thirst for knowledge.
Because, as Julian Grenfell said, life is color, warmth and light, and an eternal striving for them.