Colour Symbolism, Colour Preference in Hungarian Folklore and Folk Architecture"

The Hungarian way of decoration has certain characteristics which are rooted in the deep symbolism of ancient Hungarian mythical thinking. The ancient heritage of the Hungarians' former homeland somewhere in the Urals included eastern elements. During their migrations, the Hungarian tribes met other eastern peoples and their culture of decoration became mixed with elements drawn from these new contacts. These diverse influences mean that the Hungarian way of thinking, building and ornamentation show a certain dualism of Puritanism and rationalism in the creation of space and manufacturing, and rich fantasy in decoration and ornamentation. The Hungarians use coloured ornamentation to emphasise the symbolic importance of details. The colouring system of the built environment shows the same dualism: the main colour of the facades and inner walls is white, while the furniture, textiles, gates and windows, and sometimes the gable and fireplace are richly decorated. In Hungarian symbolism, the house and settlement are a model of the universe, so their different parts also have a transcendent meaning. The traditional meanings of the different colours reflect this transcendence. Each colour has ambivalent meanings: RED - the colour of blood - means violence and love. YELLOW - means sickness, death and ripeness (golden yellow). BLUE - means innocence, eternity (light blue) and old age, death (dark blue). BLACK - can be both ceremonial and mourning. WHILE - can have sacred meaning (bright white), while yellowish white fabric is the most common garb of both men and women in village society. GREEN - the only colour without a dual meaning, symbolises the beginning of life. Until the late 18th and early 19th centuries Hungarian folk art used one or two-coloured decoration (red, black, blue, red-blue or red-black), and from the early 19th century it moved to multi-coloured decoration. Colours are characteristically used in complementary contrast, with bright colours on a plain ground and an avoidance of subtle shadings.

Siberian Wooden Churches: Reality and Symbolics

The preservation of Siberia's cultural heritage poses a serious problem. Many Siberian churches were destroyed or reconstructed, without their original form being carefully described. Mainicheva studied the question of Siberian wooden churches of the 17th-18th centuries, producing a complex analysis of their symbolism, phenomenology and morphology. Published and archival materials show that such unique churches as the Sophia Cathedral in Tobolesk (1621), the Trinity Church in Tomsk (1654) and the Church of Kazan Holy Mother in Ilimsk (1679) directly reflected the main features of medieval Russian culture combined with new perceptions of Man and the Universe. These Russian Orthodox churches have considerable significance for understanding the natural development of Russian architecture as a part of the Russian culture of permanently moving people. All these churches, which no longer exist in their original form, were built by unknown folk builders and represented a good example of non-professional architecture. Mainicheva developed full descriptions of the churches, including graphic reconstructions of their original plans and facades.