Dissertations / Theses on the topic 'Giorgio De Chirico'
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Barbosa, Paulo Roberto Amaral. "Melancolia e questões estéticas Giorgio De Chirico." Universidade de São Paulo, 2011. http://www.teses.usp.br/teses/disponiveis/27/27160/tde-03062011-104012/.
Full textThe melancholy reflection on the aesthetic production of Giorgio De Chirico makes up the framework of this research. In this study, the feelings and resentments that permeate biographical and aesthetic aspects related directly or indirectly to issues of melancholy in Giorgio De Chiricos works are considered. Would the melancholy constitution of his production be sustained by the references of the artist? That is, would the recognized influence of philosophers like Nietzsche and Schopenhauer and artists such as Arnold Böcklin and Max Klinger provide the basis for de Chirico\'s melancholy posture? Would the context experienced in Europe in the twentieth century (surrounded by two world wars) contribute to the adoption of this condition? Would the biographical circumstances steer the artist towards the expression of melancholy in his works? Finally, would De Chirico make use of what might be called an \"aesthetics of melancholy as one of the pillars of his poetic reflection? The elucidation of these questions may lie in the historical sources that combine art and melancholy from the writings of the Greek philosophers, through questions of the Renaissance and coming to modern ideas - of which De Chirico is a result.
Verger, Anne. "Giorgio de Chirico entre peinture et écriture." Aix-Marseille 1, 1997. http://www.theses.fr/1996AIX10107.
Full textFenzi, Lisa. "(Un)sichtbarkeit Giorgio de Chirico, Filippo de Pisis, Giorgio Morandi zur Kunstauffassung." Doctoral thesis, Humboldt-Universität zu Berlin, Kultur-, Sozial- und Bildungswissenschaftliche Fakultät, 2016. http://dx.doi.org/10.18452/17444.
Full textThis study describes and analyses in detail a total of 13 important works by the Italian painters Giorgio de Chirico (1888 Volos, Greece – 1978 Rome), Filippo de Pisis (1896 Ferrara – 1956 Milan) and Giorgio Morandi (1890 Bologna – 1964 Bologna). Its findings include the partially unexpected discovery that the “yet-figurative” aesthetics of these works, which may be valued as backward and even reactionary raise a very modern and relevant question about the special quality of pictures. The works’ scepticism of a fixed kind of perception also emerges in their productive confrontation with canonical, more traditional pictures and in their affirmation of art’s ability to encourage a special, “other” way of seeing. The argument of this study is based on the investigation of the unavoidable relationship between visibility and invisibility as a central moment in de Chirico’s, de Pisis’ and Morandi’s artistic production, and proposes a dialogue with the theories of Arthur Schopenhauer, Friedrich Nietzsche and Giacomo Leopardi, whose influence on the tree painters was of great importance, especially in conjunction with the dissolution of classic concepts of reality. The crisis of representation resulting from this dissolution led in the visual arts to a critical confrontation with the concept of the “Real”. As a consequence of this confrontation news forms of representation and observation emerged. Essential to this transformation is that conscious reflexions about sight and perception became themselves the subjects and objects of pictures. This aspect is also considered from the perspective of phenomenology and its tools of enquiry. The dissertation’s focus and structure derive from the direct confrontation with the pictures, which also informs its conceptual horizon.
Peppel, Claudia. "Der Manichino von der Gliederpuppe zum techisierten Kultobjekt ; Körperimaginationen im Werk Giorgio de Chiricos." Weimar VDG, 2007. http://d-nb.info/987165704/04.
Full textDi, Gregorio Roberto <1994>. "Il teatro dei Dioscuri: Giorgio de Chirico e Alberto Savinio." Master's Degree Thesis, Università Ca' Foscari Venezia, 2020. http://hdl.handle.net/10579/17945.
Full textWalker, Deborah, and mikewood@deakin edu au. "Giorgio de Chirico and the idea of enigmatic imagery: The innocence of becoming." Deakin University. School of Contemporary Arts, 2002. http://tux.lib.deakin.edu.au./adt-VDU/public/adt-VDU20050915.104950.
Full textMical, Thomas. "A fragmentary writing : the (convulsive) enigma of eternal recurrence in de Chirico’s "architecture"." Diss., Georgia Institute of Technology, 1998. http://hdl.handle.net/1853/23978.
Full textFenzi, Lisa Verfasser], Michael [Akademischer Betreuer] [Diers, and Gottfried [Akademischer Betreuer] Boehm. "(Un)sichtbarkeit Giorgio de Chirico, Filippo de Pisis, Giorgio Morandi zur Kunstauffassung : Bildbeschreibungen und Bildanalysen / Lisa Fenzi. Gutachter: Michael Diers ; Gottfried Boehm." Berlin : Kultur-, Sozial- und Bildungswissenschaftliche Fakultät, 2016. http://d-nb.info/108847974X/34.
Full textFenzi, Lisa [Verfasser], Michael [Akademischer Betreuer] Diers, and Gottfried [Akademischer Betreuer] Boehm. "(Un)sichtbarkeit Giorgio de Chirico, Filippo de Pisis, Giorgio Morandi zur Kunstauffassung : Bildbeschreibungen und Bildanalysen / Lisa Fenzi. Gutachter: Michael Diers ; Gottfried Boehm." Berlin : Kultur-, Sozial- und Bildungswissenschaftliche Fakultät, 2016. http://d-nb.info/108847974X/34.
Full textPlaga, Anneliese. "Sprachbilder als Kunst Friedrich Nietzsche in den Bildwelten von Edvard Munch und Giorgio de Chirico." Berlin Reimer, 2006. http://d-nb.info/986888761/04.
Full textRibeiro, Mariana Karina. "A viagem do Argonauta = as poeticas de Giorgio de Chirico no acervo do MAC-USP." [s.n.], 2009. http://repositorio.unicamp.br/jspui/handle/REPOSIP/279112.
Full textDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas
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Resumo: Apresenta-se neste trabalho uma abordagem da obra do artista Giorgio de Chirico a partir de cinco quadros seus pertencentes ao MAC-USP, pintados entre 1914 e 1940 circa e alguns de seus escritos. Pretende-se fornecer mais elementos para o conhecimento e a interpretação desse significativo conjunto de obras do patrimônio artístico-cultural paulista, ampliando as perspectivas de debate do tema no Brasil. Ainda com este escopo são oferecidas ao final do trabalho traduções com notas, de textos selecionados, escritos pelo artista entre 1911 e 1938.
Abstract: It is presented in this text an approach to the work of the artist Giorgio de Chirico from its five paintings belonging to the MAC-USP, executed between 1914 and 1940 circa and some of his writings. It is intended to provide more elements for the knowledge and interpretation of this significant collection of artworks of paulista cultural artistic heritage, extending the perspective of debate on this subject in Brazil. Still with this scope, translations with notes of selected texts, written by the artist between 1911 and 1938, are presented by the end of this material.
Mestrado
Historia da Arte
Mestre em História
Schumacher, Sara. ""Uomini-statua-oggetto" : Giorgio de Chirico's mythologized mannequin paintings in late 1920s Paris /." Thesis, Connect to online version of this title in UO's Scholars' Bank, 2007. http://hdl.handle.net/1794/6004.
Full textPuig, Costa Janina. "De Chirico y la arquitectura. Enigmas y mitos del S.XX." Doctoral thesis, Universitat Pompeu Fabra, 2013. http://hdl.handle.net/10803/117465.
Full textLarios, Ruiz Darshan Shaday. "De la poesía pictórica a la poesía escénica: la metafísica del objeto cotidiano de Giorgio de Chirico en Tadeusz Kantor." Doctoral thesis, Universitat Autònoma de Barcelona, 2016. http://hdl.handle.net/10803/377771.
Full textThis research works in to get the concept "metaphysics of everyday objects" from the work of the greek painter Giorgio de Chirico (Volos, 1888-1978), in order to test as an analysis tool for object theater. At the end, the definition of a concept consists of three principles and two-step process understood as a dynamic of poetization from everyday objects in the scene. I put as example, the metaphysical analysis of one everyday object in the work of the polish theater director Tadeusz Kantor (Wielopole,1915-1990): “the wardrobe” inside In the little mannor house (1961). This definition can be applied as a tool for understanding creative processes at any stage project that works with everyday objects.
Berger, David S. "Modern Paintings of the Prodigal Son: Depictions by James Tissot, Max Slevogt, Giorgio de Chirico, Aaron Douglas, and Max Beckmann, 1882-1949." University of Cincinnati / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1336741954.
Full textRienzo, Lusia <1997>. "COSTUMI DI SCENA, MANICHINI E STATUE: ANALISI DELLA RAPPRESENTAZIONE DELLA FIGURA UMANA NELL’OPERA DI OSKAR SCHLEMMER, GIORGIO DE CHIRICO E GRISHA BRUSKIN." Master's Degree Thesis, Università Ca' Foscari Venezia, 2022. http://hdl.handle.net/10579/21108.
Full textUsai, Antonella. "Être soi-même et un autre dans une langue étrangère. Giorgio de Chirico et Alberto Savinio, l'expérience linguistique et identitaire entre France et Italie." Thesis, Paris 3, 2010. http://www.theses.fr/2010PA030072.
Full textThe entire history of Italian literature shows author after author who, for differing reasons, felt the need to turn to the French language for the artistic expression of their works. My work herein aims in particular to analyse the experience and the work between the two languages of the de Chirico brothers, in order to discover the way in which their relationship with the French language and culture influenced and determined their literary works. The justification of my choice of authors to be studied are the actual works of the de Chirico brothers which have revealed them-selves to be a vast field of research for the intertextual problems of the bilingual phenomenon; this is confirmed by the considerable volume of their poetic and literary works [especially to create Hebdomeros – de Chirico – and Vita di Mercurio – Savinio - ]. Equally as important is the collaboration of the de Chirico bothers with Papini’s magazine «La Vraie Italie», which has allowed us to observe not only another aspect of their bilingual writing but also the evolution of their relationship with Italy and with France which is tied to the problem of identity. Their constant relationship with France which manifests itself through the alternation of writing in Italian and French is, in fact, a clear sign of an identity which has its’ roots above all in the cultural complexity of their atypical education. Once the problem of “I, biographer” has been overcome, their works try to re-establish an “I, universal” which, in order to express itself, requires a plurality of languages
USAI, ANTONELLA. "Essere se stessi e un altro in una lingua straniera: Giorgio de Chirico e Alberto Savinio, l'esperienza linguistica e identitaria tra Francia e Italia." Doctoral thesis, Università degli Studi di Roma "Tor Vergata", 2010. http://hdl.handle.net/2108/1437.
Full textThe entire history of Italian literature shows author after author who, for differing reasons, felt the need to turn to the French language for the artistic expression of their works. My work herein aims in particular to analyse the experience and the work between the two languages of the de Chirico brothers, in order to discover the way in which their relationship with the French language and culture influenced and determined their literary works. The justification of my choice of au-thors to be studied are the actual works of the de Chirico brothers which have revealed them-selves to be a vast field of research for the intertextual problems of the bilingual phenomenon; this is confirmed by the considerable volume of their poetic and literary works (especially to create Hebdomeros – de Chirico – and Vita di Mercurio – Savinio - ). Equally as important is the col-laboration of the de Chirico bothers with Papini’s magazine «La Vraie Italie», which has allowed us to observe not only another aspect of their bilingual writing but also the evolution of their rela-tionship with Italy and with France which is tied to the problem of identity. Their constant rela-tionship with France which manifests itself through the alternation of writing in Italian and French is, in fact, a clear sign of an identity which has its’ roots above all in the cultural complexity of their atypical education. Once the problem of “I, biographer” has been overcome, their works try to re-establish an “I, universal” which, in order to express itself, requires a plurality of languages.
Dans l’histoire littéraire italienne tout entière se succèdent des écrivains qui pour différentes rai-sons, ont dû se confronter à la langue française dans leur oeuvre. Pour la génération née entre le XIXème et le XXème siècle, le bilinguisme est un des outils de la recherche identitaire de l’artiste déraciné, quête du Je littéraire et du Je national. Au sein de cette génération, l’écriture des frères de Chirico se révèle un champ d’investigation particulièrement riche des problématiques qui se nouent entre la France et l’Italie. Les enjeux du choix d’une langue pour un texte donné mais éga-lement de l’autotraduction – pour republication dans une autre langue mais également comme composante du processus d’élaboration d’un texte – seront abordés en détail notamment à travers l’étude des poèmes noyau d’Hebdomeros de de Chirico et de la Vita di Mercurio de Savinio. L’analyse de leur collaboration à «La Vraie Italie», nous a permis d’observer à la fois un aspect ultérieur de leur écriture bilingue et l’enjeu identitaire qui se lie au rapport entre France et Italie. Leur rapport constant avec la France, qui se manifeste à travers l’alternance de l’écriture en italien et en français est d’ailleurs le signe évident d’une identité enracinée avant tout dans la complexité culturelle de leur formation atypique. Une fois dépassé le problème du « Je biographique », leur oeuvre essaye de refonder un « Je universel » qui nécessite pour s’exprimer une pluralité de langa-ges.
Gaillemin, Jean-Louis. "Architecture et surréalisme (1909-1935) dans les textes et l'oeuvre d'Emilio Terry (1890-1969), Giorgio de Chirico (1888-1978), Alberto Giacometti (1901-1966) et Salvador Dali (1904-1989)." Paris 4, 2001. http://www.theses.fr/2001PA040200.
Full textJoppolo, Giovanni. "Les arts plastiques en Italie au XXe siècle entre progrès et tradition." Paris 8, 1993. http://www.theses.fr/1993PA080788.
Full textThis doctorate risultes from a research on works. Among the bulk of articles the author published over the last fifteen years, this choice may be considered as an excursion into the italian twentieth century art (novecento), dialectically seen between progress and tradition. Some chapters display pure research work and supply utmost new information that may help to rectify historical errors (see, for instance, pages concerning fontana and spatialism); others try to introduce new ways of reading works of art (see pages pages about marinetti, de chirico, sironi and the relationship between art and fascism); others constitute a clarifing pedagogic publishing on mouvements and artists whose works have been "revisited" by the author (see pages on manzoni, scuola romana, arte povera, corrente); others, the fruit of daily frequentations of a militant critic, stand rather on the side of an indispensables chronical for the use of future historians and critics (see pages on rotella, dorazio, paladino and "meteric choices") these chapters rveal relevant facts but also supply explication of "clefts" without which understanding of "how the house was built" would be difficul to catch, the field of this research being subject to number of potential contradiction owing to this "history in progress" and the author being, more over, directely committed to this history as a militant critic. It becomes than evident that number of his assesments are to be read as personal opinions. Writing the history of contemporary art implies taking risks, because of a lack of historical distance and because of the complexity of history in the making
Hasegawa, Akiko. "Le rôle du primitivisme dans la pensée esthétique d' André Breton entre 1920 et 1942." Paris 7, 2010. http://www.theses.fr/2010PA070005.
Full textTheoretician of Surrealism, André Breton (1896-1966) places his interest in primitive at the core of his thinkings and writings. In his writings, especially in his criticism of art, he frequently mentions the works of art called "primitive" (the Italian primitives, primitive arts, naive art and prehistoric art), the primitive image, the primitive mentality and the primitive condition of society. Most of his reflections on this term cast a protest of society's values of his time, often represented by rational and systematic thought. His persistent reference to the primitive is principally aesthetic, political and mythical. Structured around these three aspects of primitivism, this thesis aims to trace the entire evolution of the role of "primitive" and "primitivism" in Breton's aesthetic thinkings and also indicate the specificity of his thinkings during the inter-war
Cefalu', Valentina. "André Derain et l'art italien." Paris 1, 2011. http://www.theses.fr/2011PA010607.
Full textMagon, Irène. "Espaces fermés et mondes infinis : Savinio (1891-1952) surréaliste." Paris 4, 2005. http://www.theses.fr/2005PA040090.
Full textThe relationship between reality and dreams is the basis of art and thought of Savinio and the French surrealists: the Italian author is able to travel beyond the confines of this world reflecting theories of the French Movement. Breton and Savinio are two subversive “children” that love the present even if they converse with the past, two misfits who rise up against the constituted order: their arms are the writing and literature. It begins refusal of all the present and preceding literature in the name of a new and free art; a revolutionary art. But Savinio does not adapt to any label: convergences and affinities are possible thanks to the modern and highly alert sensibility. The position of Savinio and De Chirico is less radical regarding the programs of the surrealists, who take advantage of a literary and cultural tradition, more libertarian and one that has a more direct acquaintance of the psychoanalysis. The metaphysical art has placed conditions for the developments of surrealism and for its graft in Italian earth: Breton considers founders of surrealism the two siblings de Chirico
Heins, Barbara. "Giorgio de Chirico's metaphysical art and Schopenhauer's metaphysics : an exploration of the philosophical concept in de Chirico's prose and paintings." Thesis, University of Kent, 1992. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.332890.
Full textGreeley, Anne Lindsey. "Being and theatricality : the staging of the metaphysical in Giorgio de Chirico's 'Pittura Metafisica'. 1910-1914." Thesis, University of Oxford, 2016. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.724965.
Full textHsu, Li Hsiang, and 許麗香. "The Early Metaphysical Art of Giorgio de Chirico (1909-1919)." Thesis, 2001. http://ndltd.ncl.edu.tw/handle/40311025233633090719.
Full text國立中央大學
藝術學研究所
89
Abstract Giorgio de Chirico had been embroiled in the surrealist celebrity in the history of art, and thus is identified as a surrealist. In this thesis, I attempt to present de Chirico as a pioneer of the surrealist movement, and have a go at revealing the “pre-surrealist” characteristics of metaphysical art. While the surrealists worshiped the theory of psychoanalysis and groped for the mystery of the unconsciousness of the self, de Chirico held Schopenhauer and Nietzsche in deep respect and set out on a journey for the knowledge from the divine. The pursuit for the metaphysical reality of the world and the concern for the psychology of the self would be the substantial discrimination between de Chirico and the surrealists. The interest of this thesis is with the relationship between de Chirico’s art and his appeal for the profound truth of the metaphysical reality. This thesis is divided into three chapters. In the first and second chapter, the problem of style is concerned, and in the last chapter, the relation between art and metaphysical reality is the focus of my attention. I try to bring to light in the first chapter the influence of German Romanticism and 19th century landscape painting lying under the conceptual structure of de Chirico, manifesting in his imagination of landscape space and the use of symbols and allegories. In the second chapter, I attempt to reveal the influence of cubism and Apollinaire in the “displacement of space and meaning” characteristic of the works of art of de Chirico during 1913-19. The innovation of displacement in the field of visual art is an approach to break the rules of the reason and paves the way for the revolution of surrealism hereafter. In the third chapter de Chirico’s claim of revealing the profound truth in art under the influence of German philosophers, especially Schopenhauer and Nietzsche, is concerned. In the conceptual structure of de Chirico lies a seeming paradox: the cognitivism that assigns the artists the task to uncover the profound truth lying behind the veil of ordinary things and the anti-rationalist claim that the absence of rationality is a necessary condition of divine revelation and that the origin and condition of artistic creativity is nothing but madness. For de Chirico, the clairvoyance and insanity form an organic whole of the artistic creativity. Insomuch as this conceptual structure is the basis of the artistic innovations of de Chirico, the analysis of his concept of the metaphysical reality and its relation to forms would be the groundwork of the understanding of the metaphysical art.
Fei, Chen Li, and 陳麗妃. "A Study of Non-Logical Image of Giorgio de Chirico''s Creations." Thesis, 2003. http://ndltd.ncl.edu.tw/handle/05968952911763560683.
Full text國立屏東師範學院
視覺藝術教育學系
92
A Study of Non-Logical Image Of Giorgio de Chirico’s Creations Abtract Giorgio de Chirico was an Italian artist who was internationally famous, dedicated himself to the creation of Metaphysical painting in the whole life. He realized that painting should reveal a multi-face appearance , not confined in the single-face visual space which was traditionally reasonable and logical. He was proficient in using the anti-order existing form of time and space and the anti-logical inference to create a mysterious world which is enigmatic and sad. It attracted the attention of art society. It caused the enlightenment to hyper-realistic painter. The main frame of this thesis focus about the research of the perfoming form、creation concept、working analysis、the revelation of non-logical image creation in the various periods. The art development of Giorgio de Chirico is divided into seven periods : art cultivation、exploration、space consciousness、geometric architecture、return classicism、dualism and classical consciousness , which described the style transformation of Metaphysical painting . Giorgio utilized the non-logical image to express the multi-changing style of form.This study includes four concepts:space consciousness、time consciousness、causality concept、portrait configuration. Giorgio’s root of creation concept was multiple and special. Except the living experience in Greece as young child and the solid theoretical and practical foundation acquired in the school stage, he was especially interested in traditionally classical painting. Both the classical artist before and after Renaissance, Venice painters and masterpiece of Flemish painters were his focus of imitation and research.The Baroque’s splendid and decorative style also appeared in his works in late years. He was attracted by the strange mood assembled by symbols in the Bocklin、Shopenhauer and Nietzsche’s philosophical thinking , he invented his own metaphysical painting style.Long term enriched by the classical painting, the classic mood had infused into his Metaphysical painting after 1920. He obtained precisely traditional classic technique, which nourished the noblest sentiment of art. In the last ten years, he pushed his Metaphysical painting to a mature and complete stage. He received the respectable status and title granted from many countries and left a brilliant and glorious page in the modern art history.
Lin, Lee-Kai, and 林俐凱. "The Counter(-)point of Perspectives: Toward a Semiotic Poetics of Collage-Like Images by Giorgio de Chirico and Rene Magritte." Thesis, 2001. http://ndltd.ncl.edu.tw/handle/86264081138837565332.
Full text臺南藝術學院
藝術史與藝術評論研究所
89
Abstract This thesis, The Counter(-)point of Perspectives: Toward a Semiotic Poetics of Collage-Like Images by Giorgio de Chirico and Rene Magritte, is based on the broad sense of perspective as “ways of seeing,” taking Chirico and Magritte’s paintings as examples, for investigating of “counter-point” and “counterpoint” as collage’s aesthetic texture. Today “collage” is so deeply involved in our daily life that it goes far beyond its original meaning of glue-attached-collage. By juxtaposing contradictions, the magic of collage enlightens almost all kinds of media. “The discontinuity of logic” and “metonymic representation” are its main characters. The poetic juxtaposition of things-not-in-the-same-context in Chirico’s pictures inspires many artists, and Magritte is one of them. Max Ernst even took Magritte’s pictures as “hand-painted collage.” In order to investigate the poetic function of those collages, we take Roman Jakobson’s famous poetics as our methodology. Jakobson inherits Ferdinand de Saussure’s linguistic theory of “two axis of signification,” claiming that “The poetic function projects the principle of equivalence from the axis of selection into the axis of combination. Equivalence is promoted to the constitutive device of the sequence.” Inspired by Jakobsonian theory, Ernst Gombrich once mentioned the equivalence between mock portraiture and the real person; however, he did not go further. Therefore, here we take Chirico’s and Magritte’s pictures as examples to see more aspects of equivalent relations in collage. “Equivalence” actually contains parallels and contrasts in all aspects of art works. Sergei Eisenstein claims that “montage is conflict” to be achieved through the “counterpoint of sound and image.” Yet, the “counterpoint” which Eisenstein defines here is not what it means in musicology; rather, it focuses on its literal meaning. Therefore, here we rename it “counter-point.” The term “counterpoint” we use here presents plural aspects of things, just as it combines several lines of melody in the same piece of music. Moreover, this repetition and variation could go beyond the frame, intertext and dialogue with other works of art, either works by the same artist or those of the art history. Or it could even be so self-conscious as to be like “meta-painting.” We use some graphs to illustrate how the statements evolve. Finally, we demonstrate a 3-dimensional-and-3-colored co-ordinate system to make a visual interpretation of the principle of equivalence─in this model the primary color stands as the three axes, and the unique value of different position in this system represents as the unique proportion of color mixture, which reflects the degree to which each axis involves itself.