رنگ واژه

Colors affect human understanding of the phenomena of existence. The mental tendency towards color and the use of its spectrums is a reflection of various psychological actions. Each color leaves a special effect on the human body and soul, which can be proven by the two sciences of physiology and psychology. Poets have a deeper understanding of colors due to their sensual and different view of the world, which is reflected in various ways of illustration, from simile and metaphor to sensibility, defamiliarization and symbolism. The present research has analyzed the poetry of Simin Behbahani and Golrokhsar Safi Ava, two contemporary women poets from Iran and Tajikistan tradition and innovation in their poetry, and many of the deep and incidental images in their poetry have been achieved through the use of color and the creation of innovative words. As a result, both of them have used the color "black" more than any other color in order to overcome, from the perspective of Max Loescher's color theory. Both poets tend to go beyond the sad and hopeless spirit; Nevertheless, in this area, Simin's poems have more frequency, variety of spectrum and more meanings in comparison with Golrokhsar, and its application takes on a realistic and descriptive form.

Color terms are radiation of the human conceptual system that represents a reflection of his cognitive and linguistic features. The human conceptual system is fundamentally metaphorical in nature. Metaphor is a cognitive mechanism and one of the linguistic strategies that can play a part in color term formation and categorical extension of colors. This study has taken metaphor in Persian color terms and the metaphorical structure of color categories in the Persian language into consideration. In this study, based on cognitive lexical semantics, 910 color terms in Persian have been analyzed. After describing semantic domains in the metaphorical formation of Persian color terms and analyzing the metaphorical structure of Persian color terms, the frequency of semantic domains’ application in Persian color terms and color categories’ tendency for participation in the metaphorical structure of Persian color terms have been investigated. Metaphor is one of the cognitive mechanisms that have a significant role in forming color categories and their conceptual extension in Persian. The domains whose phenomena have been observed in the metaphorical structure of Persian color terms are plant domain, animal domain, food domain, body domain, mineral domain, natural phenomenon domain, and object domain. The frequency of application and distribution of these semantic domains in Persian color categories is not equal. Besides, the rate of color categories’ participation in the metaphorical structure of Persian color terms and their tendency to the source semantic domains vary in metaphorical mapping.

Toponymy is the science of studying the names of geographical places, and its purpose is to investigate geographical names in order to find their origin, meaning and structure? In the geographical names of Iran, color-words such as: white (Aq), red, green, blue, yellow (Zarin), black (Qara), are common. How is it possible that the tree is black and the spring is yellow and the soil is white? The question of this research is, what is the role of color-words in the construction of Iranian place names? The corpus of names that have been examined in this research are mostly obtained from the national statistics portal of Iran and in few cases from other sources. The result shows that one of the most frequent features in the construction of place names is the use of color words. The color of the soil, or the surface of the land, the color of plants and flowers, as well as their different effects from a distance (such as the dark or green color of the sea), the color of metals and minerals, have caused the people of each society to consider the appearance of each for the first time to name it. The method used in this research is comparative, That is, the names of different provinces with different languages and dialects have been compared with each other.

Proverbs are rooted in the culture of any language and as a result, they can be considered as one of the criteria for measuring the main elements of language. The present study also seeks to investigate the usage of color words in Persian and English proverbs based on the theory of Berlin and Kay (1969) so that the results are a criterion for measuring the taxonomic studies in relation to the main color words of these two languages. The theory of Berlin and Kay (1969) states that there is a hierarchy of 11 universal color words as the most obvious Universalist approach to color words. The results of this research showed that despite the existence of slight differences in the hierarchies of the main global color words, the hierarchies of the main Persian color words and the hierarchies of the main English color words with the hierarchies used in the present study, significant similarities can be observed both in their number and order. As a result, it is clear that the color words that have been introduced as the main color words of these two languages based on the theory of Berlin and Kay have been widely used in the culture of these two languages for a long time and have been in a way unknown, and entered the structure of proverbs. The comparative analysis also showed that although out of the total of 11 universal color words, 8 color words are used in Persian proverbs and 10 color words are used in English proverbs, the hierarchy of colors terms in Berlin and Kay (1969) are similar.

Color terms and color naming is a matter that has frequently drawn the attention of the linguists. Human eyes can identify more than seven million colors. Languages in different cultures have tried to represent lexically a range of them. Color terms and their typology is considered as one of the pivotal studies in recent decades. While there are Persian words for the colors, each year, due to inaccessibility, several non-Persian color terms enter this language. This article is aimed at representing a list of Persian color terms, studying their morphological structure, their localization and enrichment of Persian language and culture. More than sixteen hundred color terms have been collected by the writer. These terms can be divided into simple and complex words. Only 2.74% of Persian color terms are simple and 97.26% of them have complex structure. Persian speakers create color terms through suffixation and syntactic processes. 50.50% of complex color terms have derivational structure and the remaining 46.76% are compound. Derivation and compounding are the most productive and frequent processes in the formation of Persian color terms.

In sociolinguistics, Color terms are considered as one of the main factors of the language and culture relationship. This research based on the ‘Berlin and Kay (1969) and McNeill (1972) theory’. The main goal is to investigate the influence of natural resources on the Kermanian color terms and to study color terms used in Kerman carpet. The language community consists of two groups of 15 individuals from over 55 aged people of Kerman and Ravar areas. The first group has the experience and skill in carpet waving and the second group doesn't have. The results of the first part show that Kermanian color terms is relatively similar to universals and also to Persian main color terms . However, the presence of special color term, ‘pestei’ among the frequent used color terms shows that according to McNeill (1972) hypothesis, the natural resources of this region are also effective in abstracting the natural resources for making color term. The results of the second part of the study also showed that although some of color terms in Kerman carpets are common in the popular speech, this influence is not so great that Button spoke with determination from the perspective of relativism.

Residents of Fereidoun-shahr, Isfahan, speak Georgian language which is derived from the southern branch of the Caucasian languages. This language has been lexically affected by Persian while interacting and coexisting with it. The aim of this article is to examine the morphological structure of Georgian color terms of Fereidoun-shahr and provide a metaphorical-cognitive analysis of the terms in the framework of cognitive semantics and Berlin and Kay's (1969) study. The population of this field study included all Georgian speakers of the city and the sample consisted of 10 speakers who were chosen via accessible sampling. The findings reveal that a small number of the color terms are morphologically simple and only six of them, including thԑthri (white), ∫avi (black), tsˡithԑli (red), tsˡɔnԑ (green), qˡithԑli (yellow) and lurǰi (blue), make Georgian basic color terms while a great number of them, i.e. the non-basic ones, are complex, compound, or compound-complex and are mostly borrowed from Persian. Moreover, some of the Georgian color terms are metaphorical and/or are applied in metaphorical linguistic expressions which mostly carry negative semantic and emotional load. Due to the geographical location, social life-style and the simple way of living of the Georgian people, the number of their color terms, compared to that of Persian, is very small.

The poets are always interested in colors and beside the artistic function of colors in creation of poetic images and artistic similes, they use the symbolic features of color terms to communicate their characteristic emotions. The subject of this article is the analysis of function of color elements as one of the linguistic and intratextual elements of poetry in The Divan of Rudaki. There is an ongoing debate about whether Rudaki was a congenital blind or he became blind later in his life. This article is allocated to analysis the high frequency usage of color elements in the few remaining verses of Rudaki’s poems. It also points out the several linguistic signs in his poems which show that Rudaki was not a congenital blind; The linguistic signs such as alteration of subjective affairs to objective affairs by artistic application of colors, his special consideration of the nature and it’s built-in images, the lexical and idiomatic use of colors and it’s built-in compounds, presentation of an abstract image by color terms in the form of tangibles, indirect relation between color and mental concept, the use of enigma, and approaching to the intended referent and the visual experience of images by a partial description.
Шоирон њамвора ба ранг­њо таваљљуњи хоссе нишон додаанд ва дар канори коркарди њунари унсури ранг дар халќи тасовири шоирона ва ташбењоти њунарї, аз вижагии­ намодини ранг­вожа­њо низ дар интиќоли авотиф ва эњсосоти вижаи худ бањра бурдаанд. Мавзўи бањси ин маќола баррасии корбурди унсури ранг дар девони Рўдакї ба масобаи яке аз аносури забонӣ ва дарун­матнии шеър аст. Аз замон­њои дур кўри модарзод будан ё кўр шудани Рўдакї дар авохири умраш, масъалае мубњам ва торик мањсуб ме­шавад, ки зењни пажўњандагонро ба худ машѓул доштааст. Ин маќола ба баррасии басомади фаровони корбурди унсури ранг дар андак абёти боќимонда аз Рўдакї ва ишора ба чандин маврид аз нишонањои забонӣ ва дарун­матнии шеъри ў, аз ќабили табдили умури зењнӣ ба умурӣ њиссӣ бо корбурди њунармандонаи ранг, таваљљуњи хосси ў ба табиат ва тасовири барсохта аз он, корбурди луѓавї ва истилоњии ранг ва таркиботи барсохта аз он, ироаи тасвири интизоӣ дар ќолаби мањсусот ба кумаки ранг­вожа­њо, робитаи ѓайримустаќими ранг ва мафњуми зењнї, истифода аз луѓаз ё чистон, расидан аз сатњи тавсифи љузӣ ба мисдоќи мавриди назар ва таљрибаи дидор ва тасовири дидорӣ, ихтисос дорад, то нишон дињад, ки Рўдакї дар ибтидо чунин тасовиреро дида ва дарк карда ва кўри модарзод набудааст.

This article aims at conducting a study of color metaphors in Persian within the framework of cognitive linguistics. To this end، it adopts primarily the revised model of Kövecses (2005) in which he treats metaphor as a cognitive-cultural phenomenon. The results of the study indicate that the focal colors black and white have the highest frequency among the color metaphors in Persian. This study also indicates that the color metaphors in Persian have mostly arisen from a kind of cultural motivation and have a culture-specific nature. Among other reasons، having different experiences، within various cognitive processes and social contexts including power relations، and physical environments such as geography، landscape and dwellings are shown to be the most important causes of the cultural nature of color metaphors in Persian.