Sound of painting ｜ Su Yuxin: a color science to materialism

Su Yuxin/Wen

For a long time, most civilizations perceive color through the heritage of specific substances. Cotton is not white, but the color of cotton. When you see red, you also see blood, iron ore and wine. Until Newton's light beams crossed the three prisms, the color was translated into a substance that can independent things and exists independently.

Based on the optical theory of Isaac Newton [1], modern color science [2] was created by Albert H. Munsell in 1898 The three dimensions of the color and lightness of the color, color tone, and lightness are identified. This system not only has never changed a large extent in structure, but also profoundly affects the interfaces of color capture on textiles, buildings, and plastic manufacturing widespread application of color systems (PANTONE), and digital drawing software.

If you say that the color of the view is the politics of perception, it is tamed by such a color system, which is a collective lack of imagination. In order to facilitate quantification and circulation, it assumes that the color is static vision, and there is another slow viewing context. Such a perception monopoly not only makes the watching operations lack of poverty, but also makes the production of colors fall into a mechanical cycle, deprived of the difference in identification differences Opportunity.

From the seven -color rainbow, to the 320 standard colors of Monterer, and then to Photoshop, the color option is calculated by millions of color options. The legacy is all possible. But as a painter, what I think is always omitted from this system.

The carbon in the nucleus of the human cell is derived from the atmosphere; the salt in the sweat, and the iron from the ore in our blood from the survivor of the wind rotten; the expansion of the crust during the White Period period spreads the Baiyu rock to all parts of the world. In the roots. Most of the time, the material history of the earth at the foot not only creates all the lives on the earth, but also contains the history of color in it -carbon black, iron red, and white white white.

The color we see is the color that the earth let us see. But now when we talk about color, we no longer imagine the appearance of the earth, landscape and substance (Substance). Most of the colors are only abstract slices or numbers on the screen.

The beginning of Garcia Marquez's famous novel "Centennial Lonely" wrote: "This world is too new, many things have no name, you must reach out to point out." [3]

Standing in the middle of the history of the earth's evolution, looking forward, science fiction about color can be expanded like this: due to the pollution of greenhouse gas and air, from the 1960s to the 1990s, the solar radiation on the surface of the earth has fallen. Four percent, in the process of Global Dimming, the light of daylight is getting more and more stingy, but the standard lighting of art museums and galleries around the world has increased year by year. A century later, the room will be brighter than outdoors. Or maybe, the warming oxygen -containing oxygen content that year by year will completely change the color of the seawater. The hypoxic seawater will be red, black, or yellow?

In addition to future experience, look back at the material history of the planet, and you can also find many dishonesty life. There is also a new perception based on reality but more than reality.

When the Hutv pyramid built more than 4,000 years ago was just completed, the outer layer was piled with polished white limestone. This limestone is one of the simplest "biological rocks" in the world. Its structure is covered with different sizes of circular fossil specimens. Each single -cell creature is visible to the naked eye. During the early cold martial arts, the temperature of the earth was very high. The sea level of Paleo-Tethys Ocean rose, and the warm sea water extended to the left to Northern Europe to the right to Africa, covering all the sections of this generation. A large number of pores have grown to death in the large sea area, and the calcium carbonate as the main ingredient is deposited on the bottom of the sea, which has a heavy carpet on the sea bed.

In 2020, I traveled in Hubei and Jiangxi. I saw many of these rocks. These stones were widely used in the infrastructure of the city. The floor tiles or stone steps occasionally set these biosioli hundreds of millions of years ago. This is the same type of limestone, which is solid and reliable, and built pyramids, Maijishan Grottoes in Gansu, and Trump Building on the Fifth Avenue of New York. The main component of the bottoming agent in the history of oil painting materials. This slightly warm and strong white white has not only paved the history of human architecture for thousands of years, but also the original appearance of the history of oil painting. It has not been absent in the refining of all images since then.

Of course, not all colors are so lucky, and can be left in a stable physical structure and huge geological heritage.

India has entered the Europeanide in the 17th century, and its full texture still shows bright color rendering capabilities after dilution of oil or eggs [4]. The Gambog, which was imported from East India to Britain from East India, was the product of imperialism and cross -sea trade, but the transparency and shaping of Indian yellow were higher than that of Fujima. In the watercolor and oil paintings of William Turner, you can find the obscure British sky used in the large area of ​​India, which can be found in a large area. It is still very rich in color. It is a strange color that exudes fluorescent halo. However, the strong odor carried by this pigment is as good as its visual performance. The ball -shaped color powder has a layer of mustard -yellow shell outside. After cutting, it is a strong orange powder, which exudes a pungent ammonia smell [5 ]. In 1883, an Indian civil servant disclosed that the color material produced in a small town. The ranch workers only fed cattle and mango leaves and water, and collected their thick urine. After baking, it is dried into a pigment block [6].

However, this color is quickly disappeared in India and the United Kingdom. I do not know it is based on animal protection, ecology, or safety issues. India Huang officially prohibited production in 1908, and market factories no longer had a record about this pigment after the 1920s. The short history of Indian Yellow shows that in addition to the loss of craftsmanship or the abruptness of material, the color will also be extinct because of the change of regulations.

The group of greens made by Lazurite is one of the oldest mineral colors in the world. Most of the lapishaes produced in the European mainland itself need to be imported from Afghanistan. Coupled with the high labor cost of mining and development, during the Renaissance, the heavy unit price of green stone pigments had been higher than gold.

However, due to the differences in geological history, the same color has a completely different development and use on the East Asian sector that does not produce green stone. About three hundred years before the European Renaissance began, Wang Ximeng drew the "Thousands of Miles and Mountains". This kind of green landscape with the heavy minerals of Gongbi came to the peak of development in the Northern Song Dynasty. However, this "group green" color that cannot recognize outstanding color differences with the European system is made from Azurite. Different from Qantan stone, blue copper mine is produced in Hubei, Yunnan, and Guangdong, China. This carbonate mineral is always proliferated with copper green (also known as stone green or peacock green). Its hardness, crystallization, and wavelengths are similar, and they always appear in the heavy color painting.

In addition to the minerals covered by the earth itself, there are many colors. The ingredients of geological supply are used as materials, and they are created with processing technology and chemical development. The cobalt blue we know now has a history of nearly a thousand years in porcelain and jewelry, but the first time it was based on the basis of color standards was about the early nineteenth century. Heating over 1200 degrees to a stable state. When cobalt blue was produced in Europe, it was understood as alternatives of Ultramarine and French Ultramarine, which was still very high in unit prices at that time, but when we bought pigments in the current art supplies, cobalt blue blue He Qunqing is already two completely different colors, and anyone can easily detect some warm tones in cobalt blue and the purple tone of Qunqing.

Sometimes the color is like a smell. We are not unable to identify differences, but we cannot express the difference in perception in limited vocabulary. Then when many things have names, the differences suddenly appear.

Homer in "Odyssey" written in the eighth century BC, well -known descriptions of strange colors [7]. This book has not existed as "blue" or "orange".

In its analysis of the works of "Odyssey", William Eward Gladstone circles five arguments to prove that Homer's writing follows certain rules rather than exception. The first item is the attachment in the book: "Color -for us, there are essential differences." [8] This note indicates the perception of color perception of subjectivity. How do we watch, and how to identify, not only always relative but also flow. Of the dozens of centuries, we seem to have often fallen this premise.

Under the filter of semantics, the world comes to our eyes, but this world often drags a long time, and the number of times has come. At present, about 70 % of the population on the earth speaks more than a language, but when I mention Multilingualism, not only does it mean to familiarize the rules and grammar of many languages, but even if In a single language, the possible architecture provided by multi -languageism can be performed. If there is no comparison between French and German, modern English will no longer be modern English. In addition, the complicated Latin and Indian roots are all the sources of the roots of the Indian characters. Achieve the identity of this language.

On the eve of the Brexit referendum in 2016, I bought materials in a wooden factory in the suburbs of London. I had complained to me that he had moved many immigrants to me while cutting wood. Really English. I only realized that the English I said was not "real English", but it described the color like Odyssey, and it was difficult to ignore it.

Korean American poet Cathy Park Hong, wrote in her book "Small Feeling" [9]: "Since I started writing, I am not only interested in telling my story, but I am not just telling my story, It is a way to find a form, a way to decentralize the white species. [10] "" She wrote the accent, grammar errors, invalid rhetoric and unpredictable humor that accompanied her. "English" how to be her identity heritage. Only when using English, it misuses it and Kuer, and other people can make the empires and colonial traces of the language. The same, in the interior and outside of art history, how many of our viewing experiences are frameworks of semantics, and our recognition of the contemporary color architecture is also tightly tangled with the historical process of the Western center. The ground needs to be loosened.

古代日本的染料名称留用至今的有“红色、白色、青色、黑色”四种颜色，然而这些名称最初并不是用来指颜色而已，而是分别对应四种不同的光线状态红色对应“明”、 White corresponds to "Xian", cyan is "desert", and black is "dark". From red to black, it is also excessive all day long. Here, the identification of the color is preceded by light, not a hue, and carrying a strong time narrative.

Japanese children are different from other cultures and always depict the sun as red. Different from what we think, the reason for this image can be traced back to the earlier language evolutionary problem before the emergence of the Japanese sun flag. The red and Ming in Japanese are shared the same word "あか (AKA)", and both adjectives are "Akashi".

In "The Story of Yamato" in 951 AD, you can find such a poem: "The moonlight (red) can no longer be bright (red)" (Moon も い と り な く く く く) Hirosate, but describe light feelings. When a thing is bright to the extreme, its strong perception experience is like a fiery red. Such a "visual" stack of "language" dual -level, in the same period of literature, such as "Wanye Collection" [11] or "Pickup Collection" [12] can be discovered many times.

Brent Berlin and Paul Kay published in 1969 "Basic Color Words: Universal and Evolution" [13], from non -industrialized regions, 110 samples without writing language language language 2600 mother tongue -found 83%of the case results show the same level system of color language. That is to say, the process of which colors are named by the language of the language, and there is a high degree of similar approaches for the process of naming the first name.

If there are six colors of vocabulary in a language system, humans always see bright darkness (black and white) first, followed by red, green or yellow, and finally blue. Of course, the color types of some language systems are more or less color than other language systems, or in certain languages, only a few words are specifically referred to the color, but the names of people using life to be referred to as corresponding colors.

For example, Yele Language in Papua New Guinea expresses orange in NJ: II Wulu sap (TREE SAP), MtyemTye parrot, expressing red [14], or in Taiwan, The words of exclusive colors only cover the hue of a digit -digit, but the color names misappropriated by things have more than 100 kinds, such as "羌 仔", "potato pork color" or "pork liver color". These words span the subtle color grade and texture, reflecting culture, diet and climate.

The "green" in the history of Chinese painting has always been a swaying color. It is both green and blue blue. Sometimes it is blue.

In "Xunzi · Persuasion", the most famous sentence related to "green": "Green, take it in blue, and blue in blue." The first green refers to green, and blue is the plant "blue grass grass grass grass grass. "The reputation. This sentence shows the process of color and its material life and dyes/pigments: from blue grass (scientific name: Persicaria Tinctoria), through processing, you can get blue blue than the original plants.

Xu Shen (58-147) in the Eastern Han Dynasty wrote in "Said the Word": "Green, Oriental color. Wooden fire, from Shengdan."

The east here refers to the theory of Taoist Five Elements and the Middle East. It once again connects the cyan to the woody plant, which indirectly reveals the material narrative carried by this color.

The relationship between cyan and herbs has changed until the Tang Dynasty. The "Ming Emperor Xing Shu Tu" drawn by Li Zhaodao is the beginning of the green landscape. In this painting, blue and green are not only heavy, thick -grained mineral pigments. The use of two colors with strong light consciousness. Li Zhaodao carefully set the blue stone green on the dark side of the mountain, and used the green stone green to the light of the mountain. As mentioned earlier, the blue copper ore is a single inclined crystal of stone green and stone green, like the two sides of the same mountain, dark, dark, cold and warm.

The key to judging blue is not the hue we are used to it, but its concentration and light and darkness. Blue can be a blue color or green phase, but its concentration is high and low [15]. As mentioned in the text, green is the color of "raw". If the brightness is low to a degree, it is no different from black. The green colors are not as good as the green, but often refer to the warm color with low concentration and high brightness. In addition to its colors, it is also tied to weak and withered images, which is also compared with the "life" represented by cyan. Looking at "The Map of the Ming Emperor Xing Shu" or Wang Ximeng's "Thousands of Miles" again, green and green are no longer dyeing and embellishment on the bones. It is a bone; Marking language and visual experience also look like.

In August of the year, I finally came to Paris for the first time from London. It was built in the 1840s in the North Station of Paris, and it has been about a century since Impressionism. The emissions vapor. The streamlined carriage is lying on the semi -open platform. The humid energy of Paris summer, the thermal energy of the carriage machine, and the light of the outdoor glowing on the cheek will be on the cheek. My eyes take a few seconds to adapt to the world outside the carriage. This is a world of the Geothy Channel.

Monet drew a total of seven railway stations and its surrounding views. In this collection of the Olympic Art Museum, the shade of the station indoors is purple -colored. The outdoor sky is evaporated as pink blue, pink, and a variety of gray cycles. In the distance, the apartment after the urban renewal in the distance of Lun Lulun Through the city flashed golden yellow light. This vision of this cream cake is a fine round pen with a chromatoscopy (Chrome Yellow) ——This are pigments that have been banned because of excessive toxicity.

Impressionism is the transformation of European painting history. It is intoxicated with the study of nature, light and color, and the earliest visualization of French industrialization and landscape modernization. In Monet's famous "Sunrise · Impression", the blue -gray brush strokes have blurred the junction of the horizon and the water surface, and the twisted gestures capture the dynamic dynamics of the ball. It may be particle pollution in the air [16].

I grew up on the west side of the Pacific Ocean, and I first realized that for the first time in Paris's cool summer, I realized that latitude, sunshine angle, the ingredients surrounded by the mainland seawater, and the development of urban construction and technology have shaped the scenery I saw.

Because of the salt, oxygen content, and the texture of the sea bed, the temperature of the Atlantic Ocean is much deeper than the Pacific. The latitude allows the sun to shoot a narrower angle. It takes longer for the sun to rise or fall. People can make it easier to distinguish a slight color change in a shadow. , The sun is directly on the ground, the space is flatter, and the painters tend to see the color first before they see the space, or the relationship between the space and the object with the primary color.

The Japanese Ukiyo -eam, which began to prevail in the seventeenth century, is known for its strong primary colors and the visual style of the almost style of "shadow". In this way, the image interpretation of the geographical and political context. The ignored Ukiyo -e -painting technology, thinking about the use of color and space -the use of color is not just formal celebration. The reason why I saw it was because I was here instead of others.

Another neglected viewing factors for a long time are humidity [17].

Mindoro (12 ° 53 'north latitude), the Philippine Islander, an average annual humidity of more than 80 %, an average temperature of about 30 degrees. This is a warm and humid island all year round. The language Hanuno'O has four basic colors, black, white, red and green, and on these four nouns, then use to add words to modify the state of four colors. Brightness also includes non -visual perception such as dry and wetness. Such a color system cannot be applied or translated into any existing color science cognition, but it seems to be closer to the experience of the painter and pigment work.

The impact of humidity on vision is not limited to near equatorial or island countries, and the effect of relative humidity on human vision can be seen at any place. The condition of light scattering in Aerosols is largely affected by relative humidity in the air. When the hygroscopic particles in the air absorb full water and gas, it will cause visibility. Demonstration in a figurative scene is that on a high humidity and windless day, the molecular stable gathering is easy to fog, which affects the reception of sight.

On the contrary, what did the dry air see? I was on the west coast of the United States the year before, and I wanted to camp for a few days on the desert outside the Phoenix. The last time I couldn't return to Los Angeles. I told my friends that I had no real desert experience when I grew up in subtropical. Los Angeles is a desert. So every time I went to California, I searched on my mobile phone with a fingertip, and found that in 2018, Los Angeles measured the lowest humidity on the earth on the earth. Los Angeles walked parallel to right, passing through Arizona, you can come to New Mexico after crossing a time zone. The horizontal area of ​​about thirty -four degrees north latitude, the desert and sandstone scenery of various colors, the dry air and the open land make people look particularly far away, not only far away, but it seems that there is no depth of field depth of field It seems that you can see the arc surface on the surface of the earth. At the end of the field of vision, the details of the rock wall can be climbed up. The scenery here is always like a brand new, so full and crisp.

The dry and variety of geological landscapes in this area arranged endless light. Of course, the help of the harvesting of gold and silver mine sources, after the Northern and Southern War, condensed the "Western Exploration" thirst, and many artists also moved here. From Walter UFER 1876-1936, William Robinson Leight (1866–1955) and Georgia O'Keeffe (1887–1986), New Mexico Scenic In, the color of the perspective, shape and land gives new information together with light -it is landscape and seat label.

The method of color science has always been interdisciplinary. It used to be optical, physics, and chemistry. These disciplines like universal laws. However, now, it needs to be geological science, linguistics, comparative literature, and even meteorology. Those who have conscious ways to exist in the outside world and others; those who treat individual experience like collective experience as collective experience.

Wherever and the floating of the language, if we can go to a more vast place, not only requires us to review the history of art, even the history of capital, but also need to be aware of the difference in the daily viewing, identify things, and identify things. Polar. In this way, there is no process of geographical politics for color sciences to regulate imagination.

Of course, the development of many production actions is from a single place, leaning on mountains, cities, or fields. The medium gives more details about the once reality, or in the studio, I think, at this time, the perception of this place is used as a material to generate the real plurality that will be missed in the future.

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Note:

[1] Opticks: OR, A TREATISE of the Reflections, Refractions, Inflections and Colourt of Light, 1704

[2]Munsell color samples are provided by the Munsell Color Company. A set of color samples consists of 329 chips. This set of color chips includes '320 color chips of forty equally spaced hues and eight degrees of brightness, all at maximum saturation, And Nine Chips of Neutral Hue 'Brent Berlin and Paul Kay, Basic Color Terms: Their University and Evolution, 1969, P. 5.

[3] 'The world was so recentt that many thinks lacked names, and in order to indicated them it was needed.

[4] Kassia St Clair, The Secret Lives of Color, 2016, P. 71.

[5] Handbook of Young ArtistS and AMATEURS in Oil Paintings, 1849, P.106.

[6] T.n. Mukharji, ‘Piuri or Indian Yellow’ in Journal of the Society for Arts, VOL 32, No. 1618. P.16. [7] William ewart Gladstone, Studies on Home and the Homeric Age, 185.

[8]‘The use of the same word to denote not only different hues or tints of the same colour, but colour which, according to us, are essentially different.’ Guy Deutscher, Through the Language Glass, 2010, p. 32.

[9] Cathy Park Hong, Minor Feelings: An Asian American Reckoning, 2020.

[10] ‘Ever Since I Started Writing, I was not just increested my Story But Also in Finding A Form — A Way -That DecentedRed Whitness.’

[11] ‘The Early morning of the Ming Dynasty’ s Ming Dynasty (the next morning of Venus), “Wan Ye Ji”, the 7th century to the end of the 8th century

[12]‘白妙の白き月をも紅の色をもなどかあかしといふらむ（洁白明月与红花色彩皆可谓明亮红艳）’，《拾遗集》，1007年

[13] Brent Berlin and Paul Kay, Basic Color Terms: Their University and Evolution, 1969.

[14] Stephen C. Levinson, Yeli DNYE and the Theory of Basic Color Terms in Journal of Linguistic Anthropology, 2001, P.17.

[15] Shimizu Mao, "Shimizu Mao Han Collection", 2003, P.433.

[16] David B. Schorr, Art and the History of Environmental Law, P. 324.

[17] IMPACT of Relative Humidity on Visibility Degradation During a Haze Event: a Case Study, 2016

[18]Visibility estimates from atmospheric and radiometric variables using artificial neural networks, Gabriel Lopex, Juan Luis Bosch, Inmaculada Pulido-Calvo, Christian A. Gueymard, 2017

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