Abstract: The subject of the study is the relationship between the level of anxiety and color associations with anthropologically significant concepts. The goal is an experimental test of the hypothesis that anxiety affects the structure, density and components of the color association system. The experiment involved 100 people (23 men and 77 women) aged 17 to 24 years (mean age 19.71, SD = 1.72). Their anxiety level was established using the Taylor Manifest Anxiety Scale (TMAS) as adapted by V. G. Norakidze. Depending on the total score on the Taylor Manifest Anxiety Scale, we formed 3 groups for participants with low, medium and high anxiety levels. The palette of the experiment included 9 color samples of the NCS natural color system, which were divided into "warm" and "cold". The participants compared the color samples of the palette with 26 anthropologically significant concepts. First, the experiment showed that the anxiety level related to the associative group of preferred colors: as the anxiety level increased, the number of "warm" colors significantly decreased, and "cold" ones increased. Second, in all three groups, "red" and "gray" associations dominated, the differences in the frequency of other selected hues, with the exception of red, blue-green and yellow-green, were quite weak. Third, a correlation between salient individual chromatic characteristics in the color association structure and the anxiety level was revealed: in groups with a higher anxiety level, we found a reduction in the number of connections and an increase in the dominance of individual associations. This study clarifies the relationship between the anxiety level and color cognition, primarily it concerns the color representation of a person’s own state and mood. The research can be continued through the study of other chromatic characteristics, cross-cultural and sociocultural specifics.

Abstract: The relevance and novelty of this study is determined by its purpose, which is to analyze color categorization as a cultural schema. Color categorization is understood as a way of dividing the color continuum into discrete areas (color categories), which society then endows with cultural connotations and includes in the general system of cultural knowledge. According the mentioned purpose, the concept of “cultural schema” was considered, the structure of color categorization as a cultural schema was designated and an analysis of its consistent inheritance and genesis in culture was presented. To reveal the main stages of the color categorization genesis and its typological characteristics, the ternary model of culture by A. V. Kostina and A. Ya. Flier was used. Based on the identified specificity of the interaction of three functional types of culture (consumer, traditional and creative), two types of color categorization are distinguished: natural and artificial. Natural color categorization is the historically first way of classifying color, which develops as nature is imitated (natural classes of colors) and dyes available to people are mastered. An important result of the accumulation and production of new knowledge in the field of color is the formation of a taxonomy of color terms in natural language, as well as the establishment of color categorization in everyday human consciousness in the form of cultural norms and customs, for example, the division of colors into “male” and “female” or into “festive” and “everyday” in religious clothing. As cultural practices associated with color develop, artificial color categorization arises against the background of natural color categorization. Its main distinguishing feature is a completely controlled process of obtaining color and codification of color relations in the form of atlases and color systems.