The semantics of color: coloratives in Tatar works of the khyssa genre

The subject of the study is the texts of Tatar folk tales and stories that belong to the genre corpus of kissa, such as the Tatar translation of the tales "One Thousand and One Nights," "The Tale of the Forty Viziers," the book "Abugalisini," the book "Kalila and Dimna," the book "Tutiname," as well as the book of F. Khalidi "Me d ber sgr." The research aims to identify the peculiarities of the functioning of coloratives in Tatar novels of the kissa genre. The authors investigated the semantic and symbolic significance of key colors (white, black, red, green, yellow, blue), their role in constructing artistic images, conveying cultural codes, and organizing the narration. Special attention is given to the interaction of color vocabulary with the traditional worldview, religious-mythological notions, and aesthetic ideals of the Tatar people. The functioning of coloratives in Tatar books of the kissa genre is examined. Contextual analysis was applied to determine the meanings and functions of coloratives in the texts. Through comparative analysis, stable color patterns in kissa genre texts were identified. Linguocultural analysis was used to interpret color designations as carriers of cultural, mythological, and religious information. Quantitative analysis was employed to determine the frequency of coloratives. The scientific novelty of the article lies in the comprehensive linguocultural analysis of the functioning of coloratives based on extensive material from the kissa genre. This article focuses on the systematic description of color vocabulary in its genre specificity, identifying stable color patterns and their role in constructing images and conveying cultural codes. Coloratives in kissa are not just descriptions, but a symbolic language that organizes the narrative and encodes values. Each color has a complex semantics. The basis of the system is the opposition of "white vs black," creating the main evaluative scale of the texts. Eastern borrowings and complex colors demonstrate a connection to the pan-Islamic culture and a subtle sense of shades by the authors. Color in kissa is a key to understanding the traditional Tatar worldview, where the visual and spiritual are inseparable.