In the symbolic language of church art, color appears as a means of conveying knowledge about God and the spiritual world. The symbolism of colors in Orthodox iconography and mosaics of the Eastern Church experienced its heyday. The colors used on the icons must be understood conditionally, they are not tied to the form and, like everything else on the icon, serve the task of revealing the spiritual essence, through the representation of transformation and illumination with the Divine color. Old icon painters used a relatively small amount of colors, without halftones, often resorting to contrasting combinations. The purity and intensity of the colors evoked the brilliance of the transformed matter.
The concept of colors came from their cooperation and unity. The face of the icon is not created by mixing light tones of a specific origin, as happens in paintings, but the icons shine from within. The divine light is transmitted by means of a thin gold foil and by means of light fields on the faces of the saints. Analogous to iconography, in ecclesiastical goldsmithing this is achieved by means of the cellular enamel technique, which Byzantine goldsmiths, and in a later period also masters of Kievan Rus, used extensively. Using this technique, it was possible to create miniature icons on which the colors had the same meaning and symbolism as on the colorful icons. What's more, thanks to the small dimensions, the adaptability of the objects and the better conditionality of the colors, as well as the property of the enamel to shine from within, the colors gained importance. Sections - cells, which shared colors with each other, take on the role of gold on the icons. Additional symbolic value was obtained by firing enamel in ovens.
The symbolic value of the palette of primary colors used in Christian art over a long historical period is not a rigidly defined table of values, but should be taken conditionally. Often one color carries several meanings, sometimes opposing. Colors mixed with each other have a special complexity. In order to understand the highest meaning of symbolic language, it is necessary, as St. Maxim the Confessor taught, to observe with the spirit - spiritually, and not so much with the eyes of the body - physically", thus developing the ability of reason to rise from "lower" to "upper". White symbolizes the innocence of the soul, purity and holiness; the color of the angel's robes and the transfigured and resurrected Jesus. As in iconography, in goldsmithing white signifies paradise. For example, on many pectoral crosses made with the enamel technique, a white halo represents or replaces the MLRB cryptogram, which speaks of the Savior's restoration of the lost paradise.
Navy blue — a symbol of mystery, Divine inscrutability, eternity, truth, revelation, wisdom. The color of the apostolic vestments.
Teal — the color of Heaven and the clothing of the Mother of God, symbolizes spiritual purity, and accordingly — trust and fidelity in marriage.
Green — color of spring and vegetation; it indicates the victory of life over death and the Eternal Life that the Savior gives us. It symbolizes Christ as the Giver of Life and the Cross as the Tree of Life. Despite the underlying positive nature of bright green, pale green can be associated with Satan and death.
Red — the color of the fire of Heavenly Purification, the color of life-giving heat — a symbol of life. Color of blood; therefore a symbol of sacrifice and Easter. The color of the robes of the holy martyrs.
Purple — symbol of imperial power, victory. The color of the robes of holy emperors and princes. It is sometimes used as a symbol of God the Father.
Golden — боја злата, означава Божанску светлост — као апсолутну метафору Бога:«…Бог је свјетлост, и таме у њему нема никакве.» (И Посланица Јована 1.5.). Злато је — симбол сунца и царске части, а сходно томе Исуса као сина Истине и Цара Славе. Такође симболизује љубав, праву Истину.
Yellow — has two opposite values. The first, when it resembles a golden yellow color — carries the entire positive symbolism of gold. But if it is dark yellow, then it indicates betrayal, ambition, selfishness. It is the color of Judas Iscariot.
Silver — carries the symbolism of white and blue. She is a symbol of purity, and a symbol of the Gospel eloquence. This second symbol is based on the verses from Psalm 11.7: "The words of the Lord are pure, silver in the fire purified from the earth, melted seven times".
Ружичаста — symbolizes childhood.
Turquoise — symbolizes youth.
Lilac — symbolizes sadness and grief.
Brown — the color of the earth, signifies humility, poverty, renunciation of earthly things. In this sense, it can be seen on icons as the color of the vestments of saints and the Virgin, and as the color of the vestments of some Western monastic orders.
Black — the color of the prince of darkness, symbolizes sadness, illness, sin and, accordingly, negation and renunciation of the earthly. (cloaks of monks and priests). However, in combination with white, it symbolizes calmness and innocence. Black, associated with dark color, symbolizes a deep secret, and with green, deep old age.
Gray — the color of ash, symbolizes sadness and deadness, or humility, the mortality of the body and the immortality of the soul.
