Although the ancient Hebrews had no specific words for "color," "paint" or "painter," still, as we know, they constantly met with displays of the art of coloring among the Babylonians (
Two reasons may be given for the indefiniteness of many of the Biblical references to color.
(1) The origin of the Hebrew people: They had been wandering tribes or slaves with no occasion to develop a color language.
(2) Their religious laws: These forbade expression in color or form (
Indefiniteness of color language is common to oriental literature, ancient and modern. This does not indicate a want of appreciation of color but a failure to analyze and define color effects. The inhabitants of Syria and Palestine today delight in brilliant colors. Bright yellow, crimson, magenta and green are used for adornment with no evident sense of fitness, according to the foreigners’ eyes, other than their correspondence with the glaring brightness of the eastern skies. A soapmaker once told the writer that in order to make his wares attractive to the Arabs he colored them a brilliant crimson or yellow. A peasant chooses without hesitation a flaring magenta or yellow or green zun-nar (girdle), rather than one of somber hues. The oriental student in the chemical or physical laboratory often finds his inability to distinguish or classify color a real obstacle. His closest definition of a color is usually "lightish" or "darkish." This is not due to color blindness but to a lack of education, and extends to lines other than color distinctions. The colloquial language of Palestine today is poor in words denoting color, and an attempt to secure from a native a satisfactory description of some simple color scheme is usually disappointing. The harmonious color effects which have come to us from the Orient have been, in the past, more the result of accident (see Dye) than of deliberate purpose, as witness the clashing of colors where modern artificial dyes have been introduced.
This inability of the peoples of Bible lands to define colors is an inheritance from past ages, a consideration which helps us to appreciate the vagueness of many of the Biblical references.
The following color words occur in the King James Version or Revised Version:
In addition there are indefinite words indicating mixtures of light and dark:
(a) grisled (grizzled),
(b) ringstraked (ringstreaked),
(1) Bay or Red:
Bay or red is more properly translated "strong" in the Revised Version (British and American).
(2) Black (Blackish):
The Hebrew word meaning "sunburnt" or "swarthy" is translated "black" in the Revised Version (British and American) (
Crimson (karmil): This word is probably of Persian origin and applies to the brilliant dye obtained from a bug. A second word tola`ath, is also found. Its meaning is the same. See Dye. Crimson is applied to raiment (
(6) Green (Greenish):
The Hebrew sebhah, means old age, hence, refers also to the color of the hair in old age (
(8) Hoar (Hoary):
The Hebrew ’adhom, is from dam, "blood," hence, "bloodlike." This is one of the three distinctive color words mentioned in the Old Testament (see Green; White), and is found in most of the references to red. Four other words are used:
(a) chakhlili, probably "darkened" or "clouded" (
(b) chamar, "to ferment" (
(c) bahaT, probably "to glisten" (
Scarlet and crimson colors were probably from the same source (see Crimson; Dye). tola`ath, or derivatives have been translated by both "scarlet" and "crimson" (Greek kokkinos). A Chaldaic word for purple has thrice been translated "scarlet" in the King James Version (
(a) in the equipment of the tabernacle (
This word occurs once in the Revised Version (British and American) (
This word, shashar, occurs in two passages (
(a) chori, or chur, meaning "bleached," applied to bread (
(b) tsach, or tsachor, literally, "dazzling," is applied to asses (
(c) dar, probably mother of pearl or alabaster (
(d) rir, literally, "saliva," and, from resemblance, "white of egg" (
This word occurs in
Mixtures of colors:
(a) grizzled (grisled), literally, "spotted as with hail," applied to goats (
(b) ringstreaked (ringstraked), literally, "striped with bands," applied to animals (
(c) speckled, literally, "dotted or spotted," applied to cattle and goats (
(d) spotted, literally, "covered with patches," applied to cattle and goats (
Figurative: For figurative uses, see under separate colors.
Perrot and Chipiez, History of Art in Ancient Egypt, History of Art in Chaldea and Assyria, History of Art in Phoenicia and its Dependencies; Wilkinson, The Ancient Egyptians; Jewish Encyclopedia;EB; Delitzsch, Iris.
James A. Patch