色彩如何成“学”:色彩学在近代中国的传播建构与视觉控制  

How Chromatics Became"Chromatology":The Transmission,Construction,and Visual Control of Chromatology in Modern China

作　　者：徐静[1] Xu Jing

机构地区：[1]中山大学新闻传播学院

出　　处：《艺术与民俗》2024年第4期90-98,共9页Journal of Arts and Folklore

摘　　要：清末,色彩学以书籍报刊为媒介从西方传播到中国。在传播的过程中,其以物理光学和生理学为基础的基本内容逐步稳定,同时又通过吸纳心理、文化、经验等方面的主观知识拓展自身的边界。民国时期,中国人编译的色彩学专著的出版,以及相关教学实践在艺术院校的展开,标志着色彩学在传播中完成了从知识到学科的建构。作为标准的色彩学,对中国画的颜色理论乃至以“五色论”为主的传统色彩观产生了很大影响,后者被认为是“落后”的传统而遭受批判,最终被纳入色彩学的知识框架之中。At the end of the Qing dynasty,chromatology was introduced from the West to China through books and newspapers.During its transmission,while physical optics and physiology became its stable fundamental bases,it also expanded its scope by integrating subjective knowledge from psychology,culture,experience,etc.During the Republic of China,the completion of the transition of chromatology from a collection of knowledge to a formal discipline was marked by the publication of monographs on the subject,compiled and translated by Chinese scholars,and the implementation of related teaching practices in art institutions.As a standardized discipline,chromatology has had a significant impact on the color theory of Chinese painting,including the traditional view of color based on the five-color theory",which was considered"backward"and criticized,and eventually was incorporated into the knowledge framework of chromatology.

关 键 词：色彩学 色彩 五色论 视觉控制 视觉动员 

分 类 号：J120.9[艺术—艺术理论]