Symbolism of color in Chinese traditional opera: religious and philosophical origins and meaning of images

The author aims to comprehensively analyze the symbolism of color in Chinese traditional opera by describing and systematizing the meanings attached to certain colors and their shades. The materials of the study were works by Chinese and Russian authors on the formation and development of traditional Chinese opera, various elements of performance, for example, makeup, masks, costumes, etc. The study uses semantic, iconographic, hermeneutical, historical, artistic and comparative methods. The author considers the symbolic meaning of primary colors and color shades used in productions of Chinese traditional opera and comprehensively analyzes the meaning of color in it: based on examples borrowed from the history of national culture, identifies images with which these colors were associated. In addition to the five primary colors associated with the five primary elements of the wu-xing system, later additions to the color spectrum are highlighted, which include green, blue, violet, brown and orange. The author explores the religious and philosophical origins of color semantics in Chinese culture, reveals the importance of color in creating images of Chinese opera characters taking into account regional specifics. The imprint of Chinese philosophical and religious concepts is clearly visible in the color compositions of the traditional opera. The system of five elements of wu-xing and the concept of yin-yang set the connotational basis for color combinations and their meanings in costumes, masks, and makeup of Chinese traditional opera. The author emphasizes that the canonical colors for a particular character give the viewer the opportunity to determine their social status, character, and predict the development of the opera's plot. The colors of a character's makeup and costume in Chinese traditional opera symbolize their character traits and allow judging their morality. The author points out that Chinese culture developed under the influence of different philosophical and religious movements, so colors can be perceived differently in the cultural context of these ideological systems. Regional culture had a strong influence on the development of color symbolism in Chinese opera; in different regions and operatic traditions, the same color can create different images. The author concludes that the symbolic meaning of color in Chinese opera cannot be absolutely clear without a deep understanding of color symbolism in Chinese culture, analysis of the context, and a comprehensive consideration of all elements of costume and makeup.