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Gostkowska, Kaja. "Apprivoiser la richesse des couleurs sur la palette du peintre, ou vers une liste terminologique des noms de couleurs." Romanica Wratislaviensia 63 (October 11, 2016): 41–52. http://dx.doi.org/10.19195/0557-2665/63.4.
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HOW TO MASTER THE ABUNDANCE OF COLOURS ON THE PAINTER’S PALETTE, OR A STEP TOWARDS THE TERMINOLOGICAL LIST OFTERMS RELATED TO COLOURS Colour as a subject has led to numerous studies in various disciplines such as physics, psychology, chemistry or history of art, to name a few. In the field of linguistics, the names of colours have been analysed from different points of view but all those works concerned mostly the words related to colours used in the general language. The aim of the present paper is to focus on the terms related to colours used in history of art texts, and to show the unexpected complexity of such terminology. After presenting the definitions of colour we will describe two different aspects of French terminology related to colour: firstly, the forms of terms from the point of view of their morphological and semantic motivation, and secondly, the cultural and historical reasons of such linguistic abundance and complexity of the colours’ terminology.
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Davies, Will. "Colour Vision and Seeing Colours." British Journal for the Philosophy of Science 69, no. 3 (September 1, 2018): 657–90. http://dx.doi.org/10.1093/bjps/axw026.
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Bieszk, Marta. "Coding colours: Differences across languages and their consequences for translation and language teaching." Beyond Philology An International Journal of Linguistics, Literary Studies and English Language Teaching 18, no. 2 (May 16, 2021): 9–25. http://dx.doi.org/10.26881/bp.2021.2.01.
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The concept of colour occurs in every language of the world, but contrastive research shows that the names of individual colours, functioning in one of the compared languages, do not have unambiguous equivalents in the other. The problems of the linguistic expression of colours in different languages, the history of colour terms, the formation of the semantic field of colour names and the semantics of individual words referring to colours have been investigated by numerous scholars. This paper focuses on analysing the consequences of the different organisation of the semantic field of colour for the translation from one language into another, as well as for foreign language teaching. The consequences presented here concern Polish and German mainly, but other Indo-European languages are also taken into consideration.
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Vyas, Bhawna. "THE EVER-CONTEMPORARY CHARACTER OF COLOURS AND INTERIOR DECORATION." International Journal of Research -GRANTHAALAYAH 2, no. 3SE (February 25, 2021): 1–10. http://dx.doi.org/10.29121/granthaalayah.v2.i3se.2014.3557.
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Colours are, perhaps, as old as the universe is; might be older than that. But, for sure, colours are older than arts and are related to every aspect of human life. A colour gets its identity from the rays it generates. In other words, colours are composed of radiations. Thus, when it is about colours, it is more about science than it is about arts. And science cannot be regional or time-bound; it is always universally and timelessly applicable. This character of colours inspired me to write ‘The Ever-Contemporary Character of Colours and Interior Decoration’ and helped me in taking examples from different periods of history, thus making the research paper interesting.In interior decoration, undoubtedly, line and proportion are the most important elements but it falls to the lot of few to be able to dictate what they desire in these spheres. Most of the people are content to limit their interior decoration activities to colour only, as this can be cheaply applied to the walls and choice of small accessories etc. Moreover, changing the colour also changes the look and ambience of an interior instantly and intensely. It also helps in expressing one’s personality in their interior and these can be easily done with colour. Colour, therefore, plays the major part in decorative schemes.
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Lawson, Jane A. "Rainbow for a Reign: The Colours of a Queen's Wardrobe." Costume 41, no. 1 (June 1, 2007): 26–44. http://dx.doi.org/10.1179/174963007x182318.
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This paper evaluates the wardrobe of Queen Elizabeth I on the basis of the colours that she wore. The author takes an often quoted comment, that Elizabeth I stated 'these are my colours' of black and white, and using evidence collected from the New Year's gift rolls provides details of over thirty different colours worn by the queen. The article examines the colours in groups to see if they were associated with a particular time in Elizabeth's life, a particular occasion or activity. The paper is supported by appendices providing a glossary of colour and dress terms, the years when particular colours were worn, how they were used, if they were used in combination with other colours and a list detailing the locations of the extant gift rolls.
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De Winter, Stefanie, Pieter Moors, Hilde Van Gelder, and Johan Wagemans. "Illusory Depth Based on Interactions Between Fluorescent and Conventional Colours: A Case Study on Frank Stella’s Irregular Polygons Paintings." Art and Perception 6, no. 2-3 (October 17, 2018): 116–50. http://dx.doi.org/10.1163/22134913-20181093.
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Although Frank Stella intended to create flat, illusion-less Irregular Polygons paintings, it is not uncommon to experience the illusion of colour depth, based on the interaction between their fluorescent and conventional colours. Some critics praised these artworks’ flatness, while others described odd depth experiences that they categorised as a new kind of illusion. In order to provide a correct reading of these works and to reassess their art historical significance, a scientific case study regarding this colour-depth effect imposes itself. This article discusses an experiment in which we determined whether twenty artists, twenty art historians and twenty laypeople experienced fluorescent colours as protruding, receding or flat in combination with conventional colours. We additionally looked at whether they still perceived colour depth when all fluorescent colours were replaced with their conventional variants. All participants observed fifteen designs, which they had to rate according to the perceived depth of each coloured region with a number between −3 (strongly receding) and +3 (strongly protruding). The results revealed that most participants experience fluorescent regions as strongly protruding, unlike all conventional colours, which were rated as much less protruding. When a fluorescent colour was swapped with a conventional variant, all participants experienced significantly less depth. The differences between the subject groups were statistically negligible when looking at the mean depth ratings for both colour types. However, we discovered that artists experienced more contrast effects, as they gave different ratings to different panels (of identical colour and shape) in the same design, depending on their position.
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Mitchell, Daniel Jon. "Reflecting nature: chemistry and comprehensibility in Gabriel Lippmann's ‘physical’ method of photographing colours." Notes and Records of the Royal Society 64, no. 4 (October 13, 2010): 319–37. http://dx.doi.org/10.1098/rsnr.2010.0072.
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The origins of colour photography are typically traced to mid-nineteenth-century ‘three-colour’ processes based on a mixture of three primary colours. At the time, however, images produced by these means were pejoratively labelled ‘photographs in colours’ and not ‘colour photographs’ because they did not result solely from the direct action of light. In 1891, the French physicist Gabriel Lippmann claimed to have developed a direct, ‘physical’ method of colour photography, which the French industrialists Auguste and Louis Lumière subsequently improved. This article charts the rise and fall of so-called ‘interferometric’ colour photography and evaluates Lippmann's suppression of the chemical aspects of his work, in the context of his award of the 1908 Nobel Prize in Physics.
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De Winter, Stefanie, Nathalie Vissers, Christophe Bossens, and Johan Wagemans. "Instantaneous Art? Investigating Frank Stella’s Moroccan Paintings with a Short-Exposure Experiment." Art and Perception 8, no. 2 (June 8, 2020): 121–57. http://dx.doi.org/10.1163/22134913-bja10001.
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In his search to create ‘instantaneously capturable’ paintings, Frank Stella started to use Day-Glo alkyd paints as a vehicle to communicate his simple, striped designs. Up till now, art criticism has neglected the visual impact of these fluorescent colours on this concept of ‘instantaneous art’. By presenting participants with Stella’s designs (fluorescent and conventional variants) for short presentation times (8 to 12 ms), we aimed to find out whether fluorescent colour combinations are seen faster (i.e., yield better performance in identifying the specific design) than their conventional counterparts. In general, participants were very good in identifying the correct design among distractors, which means that the pattern and colour combinations based on Stella’s work do seem to be ‘instantaneously capturable’. However, Stella’s formula for ‘instantaneous’ paintings is not identical for the different combinations. When exploring fluorescence in combination with other aspects of the design (colour and pattern), we found two effects that seemed to predict performance. First, performance seemed to depend on specific design patterns. Second, fluorescence seemed to interact with specific colour combinations in predicting performance. The red/yellow designs yielded better performance for the fluorescent variants, while the opposite was found for the green/orange designs. Contrast differences in luminance between the two colours of each colour combination might explain part of the results. On the other hand, the effect of fluorescent colours might have been watered down by the confusion between the hand-printed fluorescent colours and the computer display used for the identification task, which only showed conventional colours.
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Kaplan, Haktan, and Selçuk Peker. "The Image of Colour and Number in Fairy Tales: The Case of Bolu Folk Tales." Journal of Education Culture and Society 14, no. 1 (June 20, 2023): 597–618. http://dx.doi.org/10.15503/jecs2023.1.597.618.
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Aim. How the concepts of colour and number in Bolu tales are perceived in the beliefs and lives of cultures has been examined in our study. We tried to find an answer to the importance of colour and number images in Turkish culture, to compare them with literary works in the literature, in what sense these images are used and whether there is a fundamental point in these areas of use. Methods. In this study, the method of literature review, which is one of the qualitative research techniques, was used. Various researches previously discussed on this subject were also used as auxiliary elements. Results. Since the scope of our study is within certain limits, common colours, and numbers, which are more common in Turkish culture, are discussed. The white, black, green, and yellow colours are detected in Bolu tales; the numbers three, seven and forty carry the meanings assigned to them in Turkish culture and Islam. Conclusion. This study, the use of colours and numbers in fairy tales was examined in Bolu tales and a generalisation was reached. As a result of the colours and numbers being images in the 88 fairy tales examined, the colours and numbers determined in the tales were handled from a historical, religious and cultural point of view; first of all, explanations were made about the meaning of the concepts of colour and number and how they existed, and it was determined in which context of meaning the explanations were reflected imaginatively in Bolu tales.
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MaBouDi, HaDi, James A. R. Marshall, and Andrew B. Barron. "Honeybees solve a multi-comparison ranking task by probability matching." Proceedings of the Royal Society B: Biological Sciences 287, no. 1934 (September 2, 2020): 20201525. http://dx.doi.org/10.1098/rspb.2020.1525.
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Honeybees forage on diverse flowers which vary in the amount and type of rewards they offer, and bees are challenged with maximizing the resources they gather for their colony. That bees are effective foragers is clear, but how bees solve this type of complex multi-choice task is unknown. Here, we set bees a five-comparison choice task in which five colours differed in their probability of offering reward and punishment. The colours were ranked such that high ranked colours were more likely to offer reward, and the ranking was unambiguous. Bees' choices in unrewarded tests matched their individual experiences of reward and punishment of each colour, indicating bees solved this test not by comparing or ranking colours but by basing their colour choices on their history of reinforcement for each colour. Computational modelling suggests a structure like the honeybee mushroom body with reinforcement-related plasticity at both input and output can be sufficient for this cognitive strategy. We discuss how probability matching enables effective choices to be made without a need to compare any stimuli directly, and the use and limitations of this simple cognitive strategy for foraging animals.
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Albertazzi, Liliana, Michela Malfatti, Luisa Canal, and Rocco Micciolo. "The Hue of Angles — Was Kandinsky Right?" Art & Perception 3, no. 1 (2015): 81–92. http://dx.doi.org/10.1163/22134913-00002025.
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This article presents an experimental study on the natural association between angles and colour. Specifically, for each angle width — formed by two segments joined at their vertex — studied, participants were asked to indicate the colour that they perceived as most closely related to it, choosing from the NCS Hue Circle. The results show that participants systematically established a natural and consistent association between certain angles and colours, when explicitly asked to choose the colour that they perceived as most naturally related to a given angle presented as two lines. The overall results suggest an association between acute angles and warm colours and obtuse angles and cool colours, confirming Kandinsky’s hypothesis. In particular, the strongest relations were found between the angle of 22.5° and yellows, the angles of 45°, 90° and 135° and green-yellows, and the angle of 157.5° and red-blues, when angles were presented on a white background.
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Chaves-Montero, Jonás, and Andrew Hearin. "Surrogate modelling the Baryonic Universe – I. The colour of star formation." Monthly Notices of the Royal Astronomical Society 495, no. 2 (May 16, 2020): 2088–104. http://dx.doi.org/10.1093/mnras/staa1230.
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ABSTRACT The spectral energy distribution of a galaxy emerges from the complex interplay of many physical ingredients, including its star formation history (SFH), metallicity evolution, and dust properties. Using galaxpy, a new galaxy spectral prediction tool, and SFHs predicted by the empirical model universemachine and the cosmological hydrodynamical simulation IllustrisTNG, we isolate the influence of SFH on optical and near-infrared colours from 320 to 1080 Å at z = 0. By carrying out a principal component analysis, we show that physically motivated SFH variations modify galaxy colours along a single direction in colour space: the SFH-direction. We find that the projection of a galaxy’s present-day colours on to the SFH-direction is almost completely regulated by the fraction of stellar mass that the galaxy formed over the last billion years. Together with cosmic downsizing, this results in galaxies becoming redder as their host halo mass increases. We additionally study the change in galaxy colours due to variations in metallicity, dust attenuation, and nebular emission lines, finding that these properties vary broad-band colours along distinct directions in colour space relative to the SFH-direction. Finally, we show that the colours of low-redshift Sloan Digital Sky Survey galaxies span an ellipsoid with significant extent along two independent dimensions, and that the SFH-direction is well-aligned with the major axis of this ellipsoid. Our analysis supports the conclusion that variations in SFH are the dominant influence on present-day galaxy colours, and that the nature of this influence is strikingly simple.
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Valberg, Arne. "Colour vision: From sensation to science (in Norwegian)." Scandinavian Journal of Optometry and Visual Science 3, no. 1 (October 4, 2022): 1–6. http://dx.doi.org/10.5384/sjovs.vol3i1p1.
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Throughout history there have been different approaches to pursuing a better understanding of colour and colour vision, depending on the phenomena one wanted to explain. For instance, although seemingly irreconcilable, the opponent-colour theory of Hering (with its yellow-blue and red-green chromatic pairs) and the three-colour theory of Young-Helmholtz (with red, green, and violet as mixture primaries) did in fact illuminate different aspects of colour vision. Thomas Young and Hermann von Helmholtz set out to explain the qualities of colours, but with the help of James C. Maxwell this theory eventually became a three-receptor theory describing additive colour mixtures and colour matches. The three-receptor theory is the foundation of trichromatic colour measurements and a thriving colour technology. Ewald Hering, who also had colour perception as his main concern, appears to have recognized the distinction between receptor excitations and perception. He postulated opponent physiological processes as basis for the two pairs of chromatic colours. Today these theories are combined in an attempt to understand how colour is processed in the higher brain centres.
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Горбулева, Мария Сергеевна. "THE GOOD, BAD GREEN COLOUR." ΠΡΑΞΗMΑ. Journal of Visual Semiotics, no. 1(35) (January 31, 2023): 140–62. http://dx.doi.org/10.23951/2312-7899-2023-1-140-162.
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Рассматриваются разнообразные значения цветовых понятий и анализируются языковые игры, связанные со зрительным восприятием цвета в вариативных параметрах жизненного пространства. Сделана попытка систематизировать символику и обозначить «асимметрию» в толковании зеленого цвета, сформировать заключение о предпосылках и следствиях данного феномена. Полученные выводы могут иметь значение для исследования проблем понимания символики цвета и связанных с ним особенностей восприятия в современной культуре. The author explores the symbolism of the green colour. Biologists, chemists, botanists, florists, zoologists, artists, and other scientists have standardized, created catalogs, descriptions of colours and shades to eliminate possible errors and facilitate work. Scientists in various fields of knowledge have been interested in this topic for a very long time and comprehensively, ranging from how and in what order people recognized and named colours to assumptions about how a particular colour can affect a person or large groups of people in different circumstances and contexts. The article discusses the various meanings of colour concepts and analyses the language games associated with the visual perception of colour in the variable parameters of the living space. The history (social, cultural, symbolic) of the green colour is multi-layered and contradictory in different periods. The author made an attempt to systematize the symbolism and designate “asymmetry” in the interpretation of the green colour, to draw a conclusion about the prerequisites and consequences of this phenomenon. In Europe, at different times, it could mean luxury, prosperity, or misfortune, deceit. The green colour meant not just different meanings, but opposites: youth, love, life, and decay, poison, illness. In modern times, the green colour has a strong connection with life and prosperity. A person quite often expresses their feelings through the use of colour in one way or another. The analysis of the perception and influence of different colours on human behaviour and emotions is of great importance in psychology and related disciplines. At the moment, the basic principles of the impact of colour in marketing, advertising, positioning and brand policy are quite well studied, formulated and used. Green, like other colours, has an important place in communication and the transfer of meanings at various levels of modern culture. At the moment, there are a large number of studies and various sources of information regarding the origin, classification, history and meaning of colour, which confirms the relevance and interest in the research topic. However, blind spots, ambiguity and inconsistency in some of the findings indicate good opportunities for further work.
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Baker, Tawrin. "Color and Contingency in Robert Boyle’s Works." Early Science and Medicine 20, no. 4-6 (December 7, 2015): 536–61. http://dx.doi.org/10.1163/15733823-02046p10.
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This essay investigates the relationship between color and contingency in Robert Boyle’s Experiments and Considerations Touching Colours (1664) and his essays on the unsuccessfulness of experiments in Certain Physiological Essays (1661). In these two works Boyle wrestles with a difficult practical and philosophical problem with experiments, which he calls the problem of contingency. In Touching Colours, the problem of contingency is magnified by the much-debated issue of whether color had any deep epistemic importance. His limited theoretical principle guiding him in Touching Colours, that color is but modified light, further exacerbated the problem. Rather than theory, Boyle often relied on craftsmen, whose mastery of color phenomena was, Boyle mentions, brought about by economic forces, to determine when colors were indicators of important ‘inward’ properties of substances, and thus to secure a solid foundation for his experimental history of color.
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Arkins, Brian. "Ancient Colours." Classical Review 55, no. 2 (October 2005): 490–91. http://dx.doi.org/10.1093/clrevj/bni271.
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Buruma, Anna. "'A clinging Liberty tea-gown instead of a magenta satin': The Colour Red in ArtisticDress by Liberty & Co." Costume 41, no. 1 (June 1, 2007): 105–10. http://dx.doi.org/10.1179/174963007x182372.
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This article addresses questions about the use of strong colours, particularly red, in aesthetic fashions of the late nineteenth century. Contrary to our perception of the Aesthetic Movement, there are actually images, surviving textile patterns and literature which show that strong reds were used in dress, despite the fact that there appear to be no surviving Liberty garments in these colours. Rather than because of a disdain for cheap dyes, it is due rather to practical matters: ideas about the unhealthy aspects of certain dyes and the unreliability of their colour fastness seem stronger than class-bound feelings of contempt.
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Wood, Sarah. "The Colours of our Memories." European Review of History: Revue europeenne d'histoire 20, no. 4 (August 2013): 730–32. http://dx.doi.org/10.1080/13507486.2013.812716.
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Gračanin, Asmir, Kevin Kutnjak, and Igor Kardum. "Blue-eyed een erefer blue-eyed women: the role of life history strategies and sociosexuality." Psihologijske teme 30, no. 1 (2021): 31–56. http://dx.doi.org/10.31820/pt.30.1.2.
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Previous research (Laeng et al., 2007) conducted on Norwegian samples showed that blue-eyed men rate blue-eyed women as more attractive, while brown-eyed men and all the women show no differences in attractiveness assessments with respect to eye colour. Correspondingly, positive assortative mating was found for blue, but not brown eyes, and it most often occurred in blue-eyed men. We aimed to replicate this blue-like-blue effect in the Croatian population, which differs in the ratio of eye colour phenotypes (blue eye colour is the most prevalent in Norway while brown is the most prevalent in Croatia). Additionally, we examined whether this effect is moderated by life history strategies and sociosexuality. Our hypothesis was that the effect would be larger in those blue-eyed men who exert a slower life history strategy and who are sociosexually restrictive. One hundred and twenty-eight participants assessed the attractiveness of blue-eyed and brown-eyed models, whose eye colours were experimentally manipulated in such a way that participants were shown models with natural or artificially changed eye colours. The blue-like-blue effect was replicated in the context of preferences, although it was smaller than in the original study. However, unlike the original study, in a sample of 138 participants no assortative pairing by eye colour was found between participants and their romantic partners. Finally, the hypothesis about the moderation was supported for life history strategies, but not for sociosexuality. In addition to the rationale for the blue-like-blue effect based on the paternity uncertainty account, which was offered by the authors of the original study, we discussed other accounts of this phenomenon.
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Saha, Ali. "USE OF COLOURS IN POST-MODERNIST INDIAN CREATIVE ADVERTISEMENTS." International Journal of Research -GRANTHAALAYAH 2, no. 3SE (December 31, 2014): 1–7. http://dx.doi.org/10.29121/granthaalayah.v2.i3se.2014.3556.
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Post Modernism in India is believed to have evolved after Indian Independence in 1947 and continues till the early 20’s. When we talk about Post Modernism in context to India, it is often connected to the country’s modernization and decolonization. After the Indian independence, advertising developed with the development of forms of media at each decade. Since the beginning, colours have stirred our emotions. White chalk was a precious tool in the hands of Palaeolithic artists. Gold from the very first civilisations reminded us of the sun. A desire for the mysterious and exotic blue changed the course of history. Colour was definitely grabbing worldwide attention as the civilizations advanced, but it certainly wasn’t easy to get hold of. This is why it became the ultimate symbol of luxury. Those who could afford it, used favourite hues to decorate their surroundings. Today, not so long since the beginning of the Digital Revolution, we have free access to any colour we can possibly think of, and more and we use it in abundance and variances in Indian Advertising, basically since 1950’s when colour ads occupied special importance amongst the people who were only confined to black and white images and ads. Colour is powerful because it can change our mood – the mood of potential customers. Advertisers and designers are well aware of, the fact that customers are not guided entirely by logic when making purchases, but tend to be driven by less identifiable factors such as emotions. Through colours we can control reactions of an audience and provoke them to certain behaviours. Creativity in one word can be described as being different, i.e. different from the quo. The designer’s role is to build clear and understandable communication through the impact of colour. Creative advertisers use more dramatic mixture of colours in those ads to differentiate them from the general clutter of the ads and also to produce stronger communicative effect. The following paper presents examples of ads from mid 1990’s till the onset of 21t century and description of its colours. This paper will also present the aesthetics related to those colours and their suitability in designing those ads, to attract maximum consumers by appealing their senses.
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ADAMIA, Zoia, Manana SHELIA, and Maia MARHANIA. "COMPARATIVE ANALYSIS OF BIBLICAL PHRASEOLOGICAL UNITS WITH BLUE AND GREEN COLOUR COMPONENTS (on the example of English, Russian and Georgian)." Науковий вісник Ужгородського університету. Серія Філологія 2, no. 44 (December 19, 2020): 17–27. http://dx.doi.org/10.24144/2663-6840.2020.2.(44).17-27.
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Language as an important part of culture reflects our reality and interprets it, creating the reality in which we live. It expresses mentality of the nation, views of peoples in the world and is closely related to the history, culture and traditions of different countries.The study of language is provided within many different disciplinary areas and from different theoretical angles, all of which inform modern approaches to linguistics.Echoes of previous years remain today in proverbs, sayings, phraseological units, metaphors, culture symbols, etc. Lan- guage learning is a natural creative process.A study and analysis of words cannot be done without the consideration of various features and linguistic theories. Language attracts people’s attention because of the wealth literature and knowledge enshrined in it. As is known EnglishRussian and Georgian are considered as one of the most vital universal languages in the world. Nothing defines a culture as distinctly as its language, and the element of language that best encapsulates a society’s values and beliefs is its proverbs. Proverbial expressions are still very much alive in everyday languages, and the daily conversation would seem rather dull without them. Biblical proverbs and sayings are the wisdom of thought.Although English, Russian and Georgian belong to a family of different languages and systematically differs from each other, it is interesting to make comparative analysis of different lexical and phraseological units.There are countless colours in nature. Colour is a physical, psychological, and linguistic phenomenon and a subject of analysis in many sciences, a component of many arts playing a great role in the life of society. The lexical group of colour designation is significant in creation and expression of a language picture.The notion of colour is multifaceted, complex in its structure. It expresses not only visual perception but also connotative meanings. The diversity of the meanings of colors is due to the history of the development of states, religions and traditions. A colour palette has been reflected in mythology, legends, fairy tales, customs and various religious or mystical teachings.In this paper, we aimed at discussing the phenomenon of blue and green colours, which has a wide range of nominal po- tential and semantic ambiguity. They are the most conservative colours in the spectrum, perceived in both human consciousness and languages with a wide range of symbolic meanings.In linguistics, the study of colour concepts in different languages has a long tradition, presented by lots of publications. People can look at the same subject but perceive its colour differently. Colour terms differ across languages and the differences have been viewed through the prism of culture.A phraseological unit is more complex and multi-dimensional space, as far as the language reveals its possibilities most in phraseological units. As language is a meaning of expressing thoughts, any linguistic unit (a word, phrase, saying ...) should be considered in context.In our paper we have attempted to present phraseological units in three languages adapting bible words and expressions that made them own language property. Thus, it should be noted that phraseological units make the concentrated wisdom of all nations. They have certain pure linguistic features showing powerful universal and actually national culturological and lan- guage capacity. As far as we understand, phraseological units have their own connotative fields, analysing expressions with the above mentioned colours in the given languages, we can see that the connotative fields of the colours are not always integral. Life of biblical expressions in the modern European languages convincingly testifies to imperishability of spirit and a letter of the Book of books.Comparative approach allows receiving information on similarity or distinction of colour concepts in different languages, national and specific, lingvocultural peculiarities, conceptual models of vision of the world and interpretations in separate languages.
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Tao, Wang. "Colour Terms in Shang Oracle Bone Inscriptions." Bulletin of the School of Oriental and African Studies 59, no. 1 (February 1996): 63–101. http://dx.doi.org/10.1017/s0041977x00028561.
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Most people are born with the natural ability to see and distinguish the colours of objects and things in everyday life, but to explain in words what colour is, is a more complicated matter. Scientists have generally accepted that, physically, colour is the visual aspect of electromagnetic radiant energy having a spectral composition ranging in wavelength from about 380 to about 720 nanometres. From the psychological point of view, it is a sensation produced on the eye and in the brain by rays of light when resolved by selective reflection. The problems raised by the study of colour use are thus interdisciplinary.
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Poyato-Bonilla, Julia, María José Sánchez-Guerrero, Rute Dos Santos, and Mercedes Valera. "Population study of the Pura Raza Español Horse regarding its coat colour." Annals of Animal Science 18, no. 3 (July 1, 2018): 723–39. http://dx.doi.org/10.2478/aoas-2018-0016.
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Abstract Coat colour has always been a valuable trait for horse breeders. However, preferences for this feature have changed over the years. In this research, the Pura Raza Español horse (PRE) population was divided into four subpopulations (Grey, Bay, Black and Others), according to the most frequent coat colours and those of their ancestors. The purpose was to analyse genetic variability, reproductive parameters and distances among subpopulations during three key periods in the history of the breed: before 1960, from 1960 to 2000 and after 2000. The subpopulations composed of animals with ancestors with the same coat colour showed higher values of recent inbreeding (ranging from 7.13% to 10.44%) and a greater Nei’s minimum distance between them, as a result of more inbred matings than those carried out in families with members with different coat colours. Non-pure subpopulations also showed more similar recent inbreeding values (between 6.63% and 6.74%). Strikingly, the productive life of Pure bay, Pure black and other subpopulations with minority coat colours was considerably longer (10.79, 10.08 and 9.11 years, respectively) compared to the values of grey PRE horses (6.01 and 7.98 years), which is the subpopulation with the highest census. These results, together with shorter generation intervals of black stallion-offspring (5.51 years via father-son and 6.39 years via father-daughter) and the fact that this coat colour was not present in the breed until two decades ago, highlight the recent trend towards the breeding of black animals.
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Langelaar, Reinier J. "Chasing the Colours of the Rainbow." Medieval History Journal 21, no. 2 (July 18, 2018): 328–64. http://dx.doi.org/10.1177/0971945818775455.
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This article charts various permutations of a little known ethnogenealogical tradition found in Classical Tibetan literature, which, depending on the version, plots the shared ancestry of Tibetan, Chinese, Mongol and other Asian populations. First, a contextualisation of the ethnonym ‘Tibetan’ (Bod-pa) is offered, followed by a brief overview of other extant origin narratives of this ethnic group. We then subsequently turn to discussions and comparisons of the selected myth’s renditions, which began being written in the fourteenth century at the very latest and seem to have been particularly current on the eastern stretches of the Tibetan Plateau. This survey illustrates that depending on the time period, geographic location, authorial strategy and religious affiliation, the narrative was adapted to fit specific historical developments and socio-literary contexts and goals. Accordingly, the list of incorporated ethnic groups varies from source to source, as do their internal hierarchical ranking and specific interpretive twists. All in all, the article thus paints a picture of a fluid and malleable account in which different narrators and communities actively enlisted, adapted and instrumentalised specific visions of the ethnic group’s deep past.
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Sonika. "RAINBOW OF COLOURS – THE PAHARI MINIATURE PAINTING”." International Journal of Research -GRANTHAALAYAH 2, no. 3SE (December 31, 2014): 1–4. http://dx.doi.org/10.29121/granthaalayah.v2.i3se.2014.3534.
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Indian miniatures are in the art world a class by themselves. ‘Miniature’ generally refers to a painting or illumination, small in size, meticulous in detailing and delicate in brushwork1. Indian Miniature Painting has a long history of over thousand years and presents a comprehensive record of the religious and emotional feelings of the Indian people. These paintings show the Indian genius in its pure form. Its inspiration is rooted in the people’s hearts, keeping close to their poetry, music and drama. The great merit of this art is the exquisite delicacy of drawing with decorative details. The artists of these miniatures used bright colours with tempera effect and display an unusual understanding of colour combinations.Miniature art form made its debut in the 10th century. The earliest of miniatures are found painted on palm-leaves and their themes relating to Jainism and Buddhism. The palm-leaf paintings seem to have developed between 10th to 12th centuries. In the 14th century, palm leaf was replaced by paper and to earlier colours were added new mineral colours and pigments. Paper, with its tougher, smoother and better pigments absorbing surface almost revolutionized the entire art scenario2.
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Hill, P. W. "Colours of the stars." Endeavour 9, no. 1 (January 1985): 56–57. http://dx.doi.org/10.1016/0160-9327(85)90015-8.
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Clarke, Jacqueline R. "Colours in Conflict: Catullus’ Use of Colour Imagery in C.63." Classical Quarterly 51, no. 1 (July 2001): 163–77. http://dx.doi.org/10.1093/cq/51.1.163.
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McDonald, Luke T., Suresh Narayanan, Alec Sandy, Vinodkumar Saranathan, and Maria E. McNamara. "Brilliant angle-independent structural colours preserved in weevil scales from the Swiss Pleistocene." Biology Letters 16, no. 4 (April 2020): 20200063. http://dx.doi.org/10.1098/rsbl.2020.0063.
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Extant weevils exhibit a remarkable colour palette that ranges from muted monochromatic tones to rainbow-like iridescence, with the most vibrant colours produced by three-dimensional photonic nanostructures housed within cuticular scales. Although the optical properties of these nanostructures are well understood, their evolutionary history is not fully resolved, in part due to a poor knowledge of their fossil record. Here, we report three-dimensional photonic nanostructures preserved in brightly coloured scales of two weevils, belonging to the genus Phyllobius or Polydrusus , from the Pleistocene (16–10 ka) of Switzerland. The scales display vibrant blue, green and yellow hues that resemble those of extant Phyllobius/Polydrusus . Scanning electron microscopy and small-angle X-ray scattering analyses reveal that the subfossil scales possess a single-diamond photonic crystal nanostructure. In extant Phyllobius/Polydrusus , the near-angle-independent blue and green hues function primarily in crypsis. The preservation of far-field, angle-independent structural colours in the Swiss subfossil weevils and their likely function in substrate matching confirm the importance of investigating fossil and subfossil photonic nanostructures to understand the evolutionary origins and diversification of colours and associated behaviours (e.g. crypsis) in insects.
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Al-Amar, Abdullah M., Mohammad D. Ababneh, and Imad A. Ababneh. "A Cultural Comparative Study of White and Black Colours in Spanish and Arabic Adages." Theory and Practice in Language Studies 14, no. 2 (February 1, 2024): 515–23. http://dx.doi.org/10.17507/tpls.1402.24.
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The use of colours in human communication and expression is deeply rooted in cultural values and symbolic meanings. White and black are two colours that hold significant cultural history and symbolism. This comparative study investigates the cultural connotative meanings of white and black in both Spanish and Arabic adages. By comparing the cultural connotations associated with white and black in Spanish and Arabic adages, the paper highlights the similarities and differences these colours invoke in their respective cultures. The comparative study examines the adages' context and cultural background to gain insights into how colours convey meanings and reflect cultural values.
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Simon, Philipp. "Genetic mechanisms of pigment accumulation in carrot colours." Open Access Government 39, no. 1 (July 7, 2023): 484–85. http://dx.doi.org/10.56367/oag-039-10810.
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Genetic mechanisms of pigment accumulation in carrot colours We hear from Philipp Simon, from the USDA, Agricultural Research Service & University of Wisconsin, Madison, about how a kaleidoscope of colors reveals new genetic mechanisms of pigment accumulation in carrot colors. Most consumers in the Western world today are only familiar with orange carrots, and while orange is the color of most carrots grown globally today, red carrots are widely grown in Asia. Furthermore, the predominant color of carrots was not always orange. In fact, yellow and purple were the original colors of carrots in Central Asia (especially Afghanistan) over 1,000 years ago, where carrots were likely first widely grown as a root crop. But since cultivated carrots were domesticated from wild carrots, let’s start with the history of carrot colors with wild carrots, often called Queen Anne’s Lace. Wild carrots occur widely around the world today as a weed growing along roadsides and in vacant lots, and they have white roots, which are edible and taste like carrots, albeit often with a strong carrot flavor. There is no written history documenting the development of the first yellow and purple cultivated carrots, but we deduce that the first domesticators of carrots likely first foraged local wild carrots growing in the countryside of Central Asia, went back to gather seed from more palatable wild populations, and started cultivating that seed where they eventually found that some of those early cultivated carrots were yellow and purple. Beyond the unrecorded very early domestication history of carrot, written (albeit scant) historical records document yellow and purple carrots in Afghanistan, then Iran and northern Arabia in the 10th century. Carrots were then reported in Syria and Anatolia in the 11th century, north Africa and Spain in the 12th century, Italy in the 13th century, and northern Europe in the 14th century. Early carrots were also carried by traders east of Central Asia to China by the 13th century. With their introduction to Asia, red carrots were developed, becoming a prominent color of Asian carrots.
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Hencová, Monika, and Veronika Kotradyová. "Colour in the environment for older adults." Architecture Papers of the Faculty of Architecture and Design STU 28, no. 4 (December 1, 2023): 15–23. http://dx.doi.org/10.2478/alfa-2023-0021.
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Abstract Demographic changes, the growing number of people with disabilities, and the demands on architecture and design are posing new challenges for designers. The space in which older adults live should be safe, not only from a legal point of view but especially to facilitate their daily activities. Modern society prioritizes the integration of older adults into everyday life so that as people grow older, they are not forced to abandon their daily routines because of obstacles in the space. It is said that a person is not handicapped because of their illness, but because society fails to prepare conditions for them to be able to move and live without restrictions. Moving in space is a multisensory experience. People use most of their senses such as sight, hearing, smell, and touch in addition to moving their bodies. How we feel indoors depends on the indoor climate, lighting, surface colours, air quality, floor plan, and furniture layout. Studies show that the materials and colour of products have an impact on how we navigate a space, how we feel and, in some cases, they can even have healing effects. The aim of our study is to investigate the association between colours in the environment and the orientation of people, especially older adults, in the space they live in. Several studies, experiments, and observations of foreign researchers serve as the basis of the paper. The analysis of case studies proved that colours in the environment have a significant impact on orientation in space and can be an effective tool for spatial orientation and drawing attention to a particular place. In surveys that have been conducted with older adults, warm colour tones such as yellow, orange, and red are preferred over cold ones. Red tones are some of the most easily recognizable for older adults who suffer from loss of colour recognition. They have lower cognitive abilities as a result of aging. Therefore, the achromatic environment does not sufficiently stimulate their brain function, leading to longer reaction times. Colour and contrast indoors play a big role in the perception of space and can help in drawing attention to a particular place.
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Harmash, Yurii, Mykola Honcharenko, and Oleksandr Mazurenko. "Bachelor's photo project “Think in colour”." Bulletin of Kyiv National University of Culture and Arts. Series in Audiovisual Art and Production 4, no. 1 (June 30, 2021): 113–32. http://dx.doi.org/10.31866/2617-2674.4.1.2021.235099.
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The author’s message for this Bachelor’s photo project was to analyse the colour palette by researching and systematising the colour spectrum by creating a photo project. This photo project consists of two parts, which differ in the expressive imaging method; the background idea unites them. The main thing was to show the interaction of colours, texture, and the image’s plane. The use of paint and different background compositions gave a sense of depth to space. The scientific novelty lies in the fact that a complete spectral analysis is carried out for the first time, compared with the works of classics, analysis of the place in the history of each event associated with a particular colour.
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Nelson, Anne. "Colours of violence." Index on Censorship 23, no. 1-2 (May 1994): 86–92. http://dx.doi.org/10.1080/03064229408535643.
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Trépied, Benoît. "‘Two Colours, One People’?" Journal of Pacific History 45, no. 2 (September 2010): 247–64. http://dx.doi.org/10.1080/00223344.2010.501700.
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Jackson, Christine E. "The materials and methods of hand-colouring zoological illustrations." Archives of Natural History 38, no. 1 (April 2011): 53–64. http://dx.doi.org/10.3366/anh.2011.0004.
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Thousands of colourists were employed to hand-colour illustrations in zoological books and journals during two centuries. They followed pattern plates that were prints with monochrome outlines coloured by the artist for them to copy. Accounts of the materials that they used, and the methods employed to achieve fine coloured plates closely resembling the original water-colours, have been collected from many documents.
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Naldrett, D. L., Andre Lachaine, and S. N. Naldrett. "Rare-earth elements, thermal history, and the colour of natural fluorites." Canadian Journal of Earth Sciences 24, no. 10 (October 1, 1987): 2082–88. http://dx.doi.org/10.1139/e87-197.
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The contents of La and of all 13 naturally occurring rare-earth elements (REEs) in samples of natural fluorites were determined by neutron activation analysis. The samples were chosen to test the relation of REE content to colour. Total REE contents of the samples ranged from 3.46 to 97.2 ppm; the range of the least abundant REE, Lu, was 0.031–0.57 ppm and the range of the most abundant REE, Ce, was 0.94–33.3 ppm. No relation was found between the absolute amounts nor the enrichment or depletion of a particular REE and colour. The absorption spectra from 400 to 700 nm were determined by photo-acoustic spectroscopy using a few milligrams of powdered fluorite sample. Optical absorption spectra were obtained for all samples including those that were too small or too opaque for transmission or reflectance methods. The absorption maxima obtained are similar to those reported by others for samples of similar colours. It is concluded that ionizing radiations from incorporated radioactive elements produce the divalent REE ions that account initially for purple colour. From the description given in the literature on the thermoluminescence of fluorites it is then shown that the thermal history can account for the ultimate colour. However, other factors, such as the presence of water vapour, oxygen, or hydrogen; variation in the growth rate of crystals; colloidal particles; and exposure to light, can contribute to the colour.
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Abderrazzaq, Mohammad. "Investigation of electrical tree stress using colour techniques." Applied Research and Smart Technology (ARSTech) 3, no. 1 (August 5, 2022): 9–18. http://dx.doi.org/10.23917/arstech.v3i1.456.
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Treeing is one of the severe problems which cause deterioration and breakdown of electrical insulation materials. Different approaches have been used to characterise this phenomenon, from experiments to analysis. The results of both methods were criticised for their dependence on the assumptions and applied conditions. In this work, the role of colours in understanding the characteristics of electrical treeing in composite insulation was employed. The relationship between the induced strain, associated with the electrical tree, and the change of colour parameters, represented by hue, saturation and value indicators, was presented. The images were created by relative retardation orthogonal components of the polarised white light used to illuminate the specimens in the microscope. An image-editing software was used to analyse the tree colours, whereas the MATLAB program was written to determine the colour mapping of examined image. The variation of each colour parameter was linked with the tree distribution. It was then introduced as an indicator of stress at each examined point. Therefore, the contribution of the present paper is summarised as an introduction of a new tool to characterise the stress in insulation materials by converting a treed image into a numerical array of data without the need to follow a complex mathematical procedure. Finally, this paper can better assess the treeing phenomenon by correlating the direction of tree growth to the rate of change for each colour parameter in that direction.
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FAIRE, LUCY, and DENISE MCHUGH. "Twelve shades of grey: encountering urban colour in the street in British provincial towns, c. 1945–1970." Urban History 46, no. 2 (August 7, 2018): 288–308. http://dx.doi.org/10.1017/s096392681800038x.
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ABSTRACTThis article examines the neglected sensory experience of visual physical colour in the city/town centre or what is now referred to as the Central Business District. It focuses on the post-war period when reconstruction, town planning, new architecture, novel materials and technologies, and investment were all transforming British city centres. The research uses film, photographs, planning documents, oral history and social media reminiscences to research the users’ experience of colour in the city centre streets. It argues that, although new materials in construction opened up the possibilities of bright, ‘non-natural’ colours in the urban built environment, the visual experience of colour was found mainly in the ephemera of everyday life. Furthermore, it argues that colour was an important component in constructing people's sense of place and belonging in the city.
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DEL MONTE, M., P. AUSSET, and R. A. LEFEVRE. "TRACES OF ANCIENT COLOURS ON TRAJAN'S COLUMN." Archaeometry 40, no. 2 (August 1998): 403–12. http://dx.doi.org/10.1111/j.1475-4754.1998.tb00846.x.
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Moura, Breno. "Newtonian Optics and the Historiography of Light in the 18th Century: A critical Analysis of Joseph Priestley’s The History of Optics." Transversal: International Journal for the Historiography of Science, no. 5 (December 9, 2018): 157. http://dx.doi.org/10.24117/10.24117/2526-2270.2018.i5.12.
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In 1772, Joseph Priestley published The History and Present State of Discoveries Relating to Vision, Light and Colours, also known as The History of Optics. The book intended to present all the achievements in the matter of light and colors, from the Ancient times to the 18th century. This paper presents a study of the content of The History of Optics, in order to analyze how it sold Newtonian optics in the historiography of light. It will comprise discussions on Priestley’s views on History, his involvement with optical studies, his perceptions on Newtonian optics and the Biographical Chart included in the book. This analysis can add new elements for the current Historiography on Priestley, clarifying other aspects that demonstrate his commitment to a Newtonian view of the History of Optics, as well as an example of the prestige that Newton’s Natural Philosophy had throughout the 18th century.
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Ruiz, Juan F., and José Pereira. "The colours of rock art. Analysis of colour recording and communication systems in rock art research." Journal of Archaeological Science 50 (October 2014): 338–49. http://dx.doi.org/10.1016/j.jas.2014.06.023.
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Jha, Sadan. "Challenges in the history of colours: The case of saffron." Indian Economic & Social History Review 51, no. 2 (April 2014): 199–229. http://dx.doi.org/10.1177/0019464614525723.
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"Resistance of Western Ukraine", Secretariat of the Society. "Exhibition "Cultural History of Ukraine in the Colours of Interwar (1918—1939) and Wartime (1939—1945) Europe"." Ukrainian Studies, no. 3(84) (November 9, 2022): 253. http://dx.doi.org/10.30840/2413-7065.3(84).2022.262950.
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Bakal, Bijoy, and Amritanshu Shekhar. "A rare case of pregabalin induced central serous chorioretinopathy." IP International Journal of Comprehensive and Advanced Pharmacology 7, no. 2 (May 15, 2022): 108–9. http://dx.doi.org/10.18231/j.ijcaap.2022.021.
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A 34 years old man was prescribed pregabalin 75 mg per day for chronic back pain. After 2 weeks of the start of the therapy, the patient developed seeing circular dark spots in his vision in the left eye along with decreased colour perception for all colours. The drug was stopped and the circular dark spots in his vision decreased gradually and colour perception was better after 7-10 days. The patient had no history of prior disturbance of vision. He was non-, diabetic and non-hypertensive. The event recurred when a combination drug containing pregabalin and methylcobalamin was administered after 6 months. The drug was stopped immediately and the event resolved.
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Landesman, Charles, and Barry Maund. "Colours: Their Nature and Representation." Philosophy and Phenomenological Research 58, no. 3 (September 1998): 735. http://dx.doi.org/10.2307/2653778.
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Grove, Matt, Lucy Timbrell, Ben Jolley, Fiona Polack, and James M. Borg. "The Importance of Noise Colour in Simulations of Evolutionary Systems." Artificial Life 27, no. 3–4 (2021): 164–82. http://dx.doi.org/10.1162/artl_a_00354.
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Abstract Simulations of evolutionary dynamics often employ white noise as a model of stochastic environmental variation. Whilst white noise has the advantages of being simply generated and analytically tractable, empirical analyses demonstrate that most real environmental time series have power spectral densities consistent with pink or red noise, in which lower frequencies contribute proportionally greater amplitudes than higher frequencies. Simulated white noise environments may therefore fail to capture key components of real environmental time series, leading to erroneous results. To explore the effects of different noise colours on evolving populations, a simple evolutionary model of the interaction between life-history and the specialism-generalism axis was developed. Simulations were conducted using a range of noise colours as the environments to which agents adapted. Results demonstrate complex interactions between noise colour, reproductive rate, and the degree of evolved generalism; importantly, contradictory conclusions arise from simulations using white as opposed to red noise, suggesting that noise colour plays a fundamental role in generating adaptive responses. These results are discussed in the context of previous research on evolutionary responses to fluctuating environments, and it is suggested that Artificial Life as a field should embrace a wider spectrum of coloured noise models to ensure that results are truly representative of environmental and evolutionary dynamics.
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Dodd, R. J., and W. Orchiston. "Research Programs at the Carter Observatory: An Overview." Publications of the Astronomical Society of Australia 13, no. 2 (May 1996): 162–64. http://dx.doi.org/10.1017/s1323358000020725.
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AbstractAn outline is given of the main research programs currently in progress at the Carter Observatory. These include: the establishment of a set of standard star magnitudes and colours in the Vilnius seven-colour photometric system; the study of galactic and extragalactic star clusters using Vilnius and broadband photometries; binary stars and the development of APTs; and the history of Australasian astronomy. The role of Carter Observatory Honorary Research Associates is described and mention is made of the joint New Zealand/Japan program to observe gravitational microlensing effects, discover variable stars and patrol selected clusters of galaxies for supernovae.
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Strnadová, Lucie. "The Role of Sensory Qualities in Renaissance Natural History: The Case of Mattioli’s Herbal." Early Science and Medicine 25, no. 6 (February 25, 2021): 543–61. http://dx.doi.org/10.1163/15733823-00256p02.
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Abstract The aim of this paper is to show how sensory qualities were used to identify, observe, and describe plants in the sixteenth century. Mattioli’s herbal is an example of Renaissance natural history, which was based on Dioscorides’ classical text. Each step of constructing a chapter of the herbal required a different approach to sensory qualities. The identification of the plants described by Dioscorides called for detailed philological work and a good knowledge of the meaning of each term used for tastes, smells or colours. Descriptions were compared with living plants, while all plant parts and their properties had to be thoroughly examined. Taste was an important tool in establishing an affinity of a new plant with a plant from Dioscorides’ text, because gustatory qualities were regarded as closely related to plant nature. Visual qualities such as shape and colour were then especially useful in distinguishing varieties of particular plants.
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Thomas, Daniel B., Kevin J. McGraw, Michael W. Butler, Matthew T. Carrano, Odile Madden, and Helen F. James. "Ancient origins and multiple appearances of carotenoid-pigmented feathers in birds." Proceedings of the Royal Society B: Biological Sciences 281, no. 1788 (August 7, 2014): 20140806. http://dx.doi.org/10.1098/rspb.2014.0806.
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The broad palette of feather colours displayed by birds serves diverse biological functions, including communication and camouflage. Fossil feathers provide evidence that some avian colours, like black and brown melanins, have existed for at least 160 million years (Myr), but no traces of bright carotenoid pigments in ancient feathers have been reported. Insight into the evolutionary history of plumage carotenoids may instead be gained from living species. We visually surveyed modern birds for carotenoid-consistent plumage colours (present in 2956 of 9993 species). We then used high-performance liquid chromatography and Raman spectroscopy to chemically assess the family-level distribution of plumage carotenoids, confirming their presence in 95 of 236 extant bird families (only 36 family-level occurrences had been confirmed previously). Using our data for all modern birds, we modelled the evolutionary history of carotenoid-consistent plumage colours on recent supertrees. Results support multiple independent origins of carotenoid plumage pigmentation in 13 orders, including six orders without previous reports of plumage carotenoids. Based on time calibrations from the supertree, the number of avian families displaying plumage carotenoids increased throughout the Cenozoic, and most plumage carotenoid originations occurred after the Miocene Epoch (23 Myr). The earliest origination of plumage carotenoids was reconstructed within Passeriformes, during the Palaeocene Epoch (66–56 Myr), and not at the base of crown-lineage birds.
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Tulodziecki, Dana. "Scientific Realism and the Colours of Dinosaurs." Metascience 17, no. 2 (May 7, 2008): 323–26. http://dx.doi.org/10.1007/s11016-008-9177-2.
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