WHITE NCS all colours whiteness < 25 and saturation < 30





  • Square shaped temple of Svetovit
    Reconstruction drawing of the Jaromarsburg on the island of Rügen, Germany – a medieval West Slavic temple (https://i.imgur.com/zMtp6XA.jpg)
    Viergesichtige neuzeitliche Statue des Svantevit auf der Burgwallinsel im Teterower See (Landkreis Rostock, Mecklenburg-Vorpommern). Plastik von Ralph Wedhorn (commons.wikimedia.org)

    The striking cubic shape of the temple at Arkona is also found among the Celts. According to C. Schuchardt, the Slavs would have adopted this type of building from the Celts, while its radiation centre could be found in Byzantium and Armenia. The Temples of Garz were of the same square type. The outer walls of the temple of Arkona were made of carved and polychrome wood, on which rested a red roof.

    Inside, curtains were stretched around four pillars, creating an enclosed space for the statue of Svetovit, the Slavic supreme god. (Vynke, 1969). He had four heads, facing the four corners of the globe, thus representing his all-encompassing and central power. This cubic temple had an oracle that predicted the future using a white horse and a dice. In the temple was the treasury of the tribe. Helmold situates this supreme god in heaven, but there is no evidence for this. On the contrary, the clear line that we can draw from nature worship to the temple cult proves that East Slavic religion has always remained bound to the earthly, material things (Vyncke, 1969).

    This produces an interesting semantic construction that can be represented with the following coding in the Semantic Colour Space:



    I. Michiels, red.

  • Good and bad in Slavic religions
    Day and Night (Belobog and Chernobog) by Maxim Sukharev (Максим Сухарев)

    “They also worshipped the sun and the moon and two gods to whom they assigned a higher value than to other gods. One they called Bialbug – that is the white god, believing him to be a good god, the other Zernebug – that is the black god, believing him to be a god who did harm. Therefore, they honored Bialbug so that he should do them good, and Zernebug so that he should not harm them … “. This passage contains the strongest assertion yet about the Slavs’ dualism of worship – a clear statement of the supremacy of the two gods as distributors of good and ill fortune, worshipped above all other gods. There is no reason to doubt that an ancient conception of a dualistic origin of the world did underlie the fundamental beliefs of the early Slavs and that the two deities mentioned by Helmold reflect this opposition. We are inclined to believe that Chernebog does echo the existence of an old khtonic god, possibly the same as VolosNeles, and need no longer be expelled from the Slavic pantheon. However, the limited amount of comparatively late historical and ethnographic material does not allow us to assert that the early Slavs – centering their religious beliefs around the worship of two opposing deities, hypostatized as a black and a white god – reached a level of religious dualism that can be viewed as a religio-historical phenomenon. (ZNAYENKO, 1993)

  • Resurrection from death
    Resurrection of Christ and Women at the Tomb by Fra Angelico (1440-41) Wiki Commons

  • Heavy, tight and hard

    Rooms painted black appear much smaller than white ones. Black furniture dominates the space. In the most positive case they appear representative, in the most negative case they are oppressive. A black sofa appears to be harder than a white one. Colours influence the impression one gets of size, weight and material. Boxes with a light colour will be assessed less heavily than dark ones. The impression of the weight is not only due to the colour. The material usually gives the deciding factor. Every effect is the sum of all experiences.
    (Heller, 1989)

  • ‘Rest’ and colour in Germany

    Rest: green 30%, blue 21%, white 15%, brown 10%.
    Heller (1989)

  • ‘Festivity’ and colour in Germany

    Festivity: gold 26%, white 23%, silver 15%, …
    Heller (1989)

  • ‘Femininity’ and colour in Germany

    Femininity: pink 34%, red 16%, white 13%, ….
    Heller (1989)

  • ‘Eternity’ and colour in Germany

    Eternity: white 36%, blue 23%, black 18%, …
    Heller (1989)

  • ‘Emptiness’ and colour in Germany

    Emptiness: black 37%, grey 21%, white 21%, …
    Heller (1989)

  • ‘Elegance’ and colour in Germany

    Elegance: black 22%, silver 19%, white 15%, …
    Heller (1989)

  • ‘Delicate’ and colour in Germany

    Delicate: pink 46%, white 20%, yellow 12%…
    Heller (1989)

  • ‘Concentration’ and colour in Germany

    Concentration: blue 19%, white 19%, black 13%, …
    Heller (1989)

  • ‘Cleanliness’ and colour in Germany

    Cleanliness: white 82%, blue 11%, …
    Heller (1989)

  • ‘Businesslike’ and colour in Germany

    Businesslike: white 27%, grey 22%, blue 20%, black 15%, …
    Heller (1989)

  • ‘start’ and colour in Germany

    Beginning: white 46%, green 18%, …
    Heller (1989)

  • ‘Airy’ and colour in Germany

    Airy: white 37%, yellow 18%, pink 17%, ….
    Heller (1989)

  • ‘Accuracy’ and colour in Germany

    Accuracy: white 23%, blue 20%, black 17%, …
    Heller (1989)

  • ‘Science’ and colour in Germany

    Science: white 34%, blue 24%, black 8%, …
    Heller (1989)

  • ‘Sensible’ and colour in Germany

    Sensible: white 26%, blue 22%, silver 11%, gold 11%, …
    Heller (1989)

  • ‘Sportsmanship’ and colour in Germany

    Sportsmanship: blue 34%, red 17%, white 12%, …
    Heller E. (1989)

  • ‘Tranquility’ and colour in Germany

    Tranquility: green 30%, blue 21%, white 15%, …
    Heller E. (1989)

  • ‘Silence’ and colour in Germany

    Silence: blue 22%, white 15%, green 15%, …
    Heller E. (1989)

  • ‘Relaxation’ and colour in Germany

    Relaxation: green 57%, blue 16%, white 9%, …
    Heller E. (1989)

  • ‘The coolness’ and colour in Germany

    The coolness: blue 46%, silver 14%, white 13%, …
    Heller E. (1989)

  • ‘Something great’ and colour in Germany

    Something great: black 23%, blue 18%, white 13%, …
    Heller E. (1989)

  • ‘Immense’ and colour in Germany

    Immense: blue 35%, black 22%, white 1§%, …
    Heller E. (1989)

  • ‘Depth’ and colour in Germany

    Depth: blue 54%, grey 13%, white 10%, …
    Heller E. (1989)

  • Colour weight and synaesthesia

    T-tests indicated that black was judged significantly heavier than the modulus assigned to white. Apparent weight is a decreasing non-linear function of value. Value and chroma are the major determinants of colour weight. Apparent weight is a decreasing function of value and an increasing function of chroma. These results support the earlier qualitative findings that “dark” colours appear heavier than “light” colours, while providing quantitative meaning to the terms dark and light. The reason that colours appear to have different weights is not clear. Bullough (1907) first offered the reasonable suggestion that the apparent density of colours determines their apparent weight just as the actual density of objects determines their physical weight. Colour weight would then be another example of a synesthetic interaction between sense modalities, in this case between vision and kinesthesis (see Marks, 1975). According to this scheme. hue, value. and chroma would interact to determine colour density; then colour density would determine colour weight by a process of synesthesia. An appropriate test of this model would involve sensory scaling of the various attributes of colour. (Alexander & Shansky, 1976)

  • The colour for intellectual faculties

    Blue is one of the main colours of the virtues of labor and mind. The first colour of intelligence and science is now called the neutral, impartial white. But in old symbolism, blue is the colour of the intellectual faculties.
    Heller E. (1989)

  • ‘Mental concentration’ and colour in Germany

    Mental concentration: blue 19%, white 19%, black 13%, gray 13%, …
    Heller E. (1989)

  • ‘Cold /coolness’ and colour in Germany

    Cold: blue 47%, white 23%, grey 14%, …
    The coolness: blue 46%, silver 14%, white 13%, …

    Heller E. (1989)

  • Colour weight on the lightness axis

    Black and white are the most extreme examples of heavy and lightweight colours. The movement is in the height. Heavy colours, when applied above the viewer, tend to press down. Because of their heaviness, the weight is literally felt. A black ceiling will be estimated lower than a white one. Heavy is also connected to hard and large, while lightweight is felt rather fine, small and soft (Osgood, 1957). If colours have the same intensity such as red and green, red will outweigh green. (Meerwein, 2007)