Colors in folk art of Hungary

Hungarian folk art has earned a name for them throughout the world. They are fancyworks that are not only pleasing to eyes but comes in array of bright colors. Each one of the motives and colors used in Hungarian art had a different set of connotations.

The brilliant color of red, which expresses joy, passion and high spirits, was mostly used in old embroideries and hand-woven fabrics. In the old days, red was considered to have a protective power. It was associated with life and blood, fire which gives or takes life, and light. The red bonnet or headdress worn by brides and young women as part of their folk costume expressed health and youth.

White was generally used to express clearness and innocence. However, Southern Somogy county, it also reflected old age and paleness. This is the reason it was also the color of mourning. Blue and green were also often associated with ageing, which is indicated by the fact that most young women did not wear those colors.

In addition to old age, dark blue represented wisdom, sensibleness, love of peace and reconciliation with the world. A combination of dark blue and white was very important in the folk ornaments of German people living in Hungary, because it was associated with calmness and usefulness.

Green was a sign of spring, hopefulness and renewal in folk art. They often used green for ceramics and furniture, and it was the symbol of shepherds living outdoors. Yellow was the color of burning sun, which brings fading and evanescence, which is why it was not popular in folk ornaments. Black was usually the symbol of mourning. However, but the Palóc people in Hollókõ used black bed linen on festive occasions. Before the First World War, the wedding dress was black in most areas of Hungary.

Decorative folk art started becoming multi-colored only in the middle of the 19^th century. Embroidery made in Kalocsa, which used to include only white, black red and blue cotton yarns in the old days, has as many as twenty-two shades of color today.

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