摘要
色彩的象征与人类最初宇宙观的形成相伴而生。天是什么颜色,地是什么颜色,人类尚未存在的混沌世界又是什么颜色,答案皆存在于人类对天体的观察与想象。“道法自然”、“授命天时”是古人固定的思维定式。古人观察日月的运行规律制定历法,并使之与天体的方向及对应的事物相联系,同时以专门色彩做指定。
彝族拥有大量的记述原始宇宙观点的史诗和神话,是一个具有丰富色彩情感和色彩想象力的民族。彝族用古老的宇宙观视角观察自然,并试图用他们所熟知的某种事物涵盖和简化纷杂的自然形态和色彩属性,赋予它们特定的象征意义,形成了鲜明的文化魅力。
凉山是我国最大的彝族聚居区。其文化既接纳了中原及外围的影响,又保持了自身独立的民族特点,拥有纯稚、古朴的原始风貌。代表着原始宗教的毕摩文化大多集中在凉山彝族地区。笔者先后多次踏访了四川凉山彝族自治州具有代表性的昭觉、美姑、喜德、布托、普格等县镇地区,进行深入实地的田野考察和采访,亲身经历和体验当地民风、民情,收集了千余幅第一手图片和资料,全面而立体地架构了凉山彝族的色彩外貌与历史、文化纵向及横向的联系,更加丰满了对凉山彝族色彩象征的认识。
论文的绪论部分在阐明研究凉山彝族色彩象征课题的意义之外,重点概述了凉山彝族地理对文化形成的影响。
论文共分五个章节。第一章,作者以实地田野调查为依据,从服饰、漆器、毕摩宗教等几大部分,直观凉山彝族色彩的使用习俗及外貌特征,引申出凉山彝族色彩表征与文化象征意义的连脉。
第二章,通过凉山彝族用色彩描述的史诗神话；丰富的色彩语义内容；图纹与色彩的关系；凉山彝族尚黑、尚火文化的寻缘等内容,深化了对凉山彝族色彩情感的理解,对凉山彝族色彩象征补充了更加全面性和客观性的理解。在第二章节里,作者独创性地列举出彝族先民们对宇宙初始色彩认知的多元化色彩图示,有“日月、天地说”、“青红气说”、“彝族四方色”、“中原五方色”和具有独立性和神秘性的毕摩色彩体系等,提出凉山彝族多种色彩体系并存的多元化特征。在美姑作者得到了俄也拉都毕摩亲笔手绘的色彩图示,对毕摩色彩象征观念的研究很有价值。
论文中作者创建性地提出了火塘与三足乌的联想,推进了凉山彝族色彩象征思维的深度和广度。
第三章,以凉山彝族传统宇宙观的角度形象地描述了凉山彝族色彩象征从二维、三维到四维形态的递进结构,探讨了人类对色彩从低级到高级层层进化的认知进步。涉及了宗教、习俗、天文历法、哲学观等较广泛的内容。探讨了凉山彝族与中原五行文化的连脉与渗透。
中国古人对于色彩品质有着严格的界定标准,在第四章,作者分别从黑、白、赤、蓝、黄五种正色,以及凉山彝族具有典型性的色彩组合案例的选择,进入到凉山彝族色彩象征的具体分析,细化并确立了色彩与文化紧密相连的联想和象征。作者系统地锁定了黑、白组合的阴阳观和生死观；赤、黑组合与火炭、水火、日月、二至、祭祀的象征联系,以及赤、黑、黄所构成的天、地、人的和谐统一,进一步验证了“彝族四方色”的存在依据和象征表达。具有独到的见解。
第五章,作者以中西方色彩研究所取得的成果验证科学与文化的融通,倡导以凉山彝族为代表的中国民族色彩象征文化的价值回归,强调对民族特色文化研究及保护的重要意义。总结了中西方色彩在诸多定义上殊路同归的一致性,包括Kay和Berlin的色彩认知程序；三原色；光与色等等。
针对凉山彝族色彩象征研究的课题,2011年10月作者带领中央民族大学美术学院装潢设计系2009级的同学接受了凉山彝族扶助失依儿童的社会公益组织“索玛花基金会”的logo设计任务。通过此次设计实践进一步证实了色彩象征在设计中所发挥的重要作用。作为一名设计者只有真正深入了解民族文化的深层,才能更准确地定义本民族的真实情感和色彩文化象征的含义,从而实现更准确的设计定位的表达。
The emergence of color symbolism accompanied the formation of man's first view of the universe. What is the color of the sky? What is the color of the earth? What is the color of the chaotic world before the existence of mankind? All these answers depend on man's observation and imagination of astronomical objects. The ancients had a fixed mindset, i.e., man should "obey the law of nature" and "accept the mandate of heaven". Based on the operation law of the sun and the moon they had observed, the ancients developed the calendar which was related to the directions of astronomical objects and their corresponding objects, and designated them with specific colors.
The Yi people, an ethnic group with rich color feelings and imagination, had an abundance of epics and myths about primitive views of the universe. They observed the nature from these ancient perspectives and tried to cover and simplify the variety of nature forms and color attributes with the things they were familiar with. By rendering them specific symbolic meanings, the Yi people created their unique culture.
Liangshan Yi Autonomous Prefecture of Sichuan Province hosts the largest group of Yi people in China. The culture there demonstrates the original traits of purity, innocence and simplicity with both the influence of Central Plains and neighborhoods and the maintenance of independent ethnic characteristics. Bimo culture, a representative of primitive religion, mainly originated there. The author made several trips to counties and townships in Liangshan Yi Autonomous Prefecture, such as Zhaojue, Meigu, Xide, Butuo and Puge, to experience the local ethnic customs and feelings by means of fieldwork and interviews. The thousand first-hand pictures and information collected during those trips help construct a comprehensive and three-dimensional picture of the vertical and horizontal links between Yi's color appearances and their history and culture, and enrich the knowledge of Yi's color symbolism.
Apart from clarifying the meanings of the study on Yi's color symbolism, the introduction part of this thesis focuses on the influence of the geography of Liangshan on the Yi culture.
The thesis consists of five chapters. Based on fieldwork, Chapter1observes Yi's customs of color uses and its appearance features in terms of costume, lacquerware and Bimo Religion, and then brings about the links between Yi's color representation and cultural symbolism.
Chapter2deepens the understanding of Yi's color feelings and complements a comprehensive and objective understanding of Yi's color representation in terms of epics and myths described in colors, rich color contexts, the relationship between pattern and color, and the origin of black-and fire-worship culture. Also in this chapter, the author presents with originality diversified color icons of the Yi ancestors'knowledge about the first color of the universe, including "the color of the sun, the moon, the heaven and the earth","the green and red air","the color of Yi's four regions","the color of the five regions in Central Plains", as well as the independent and mysterious color system of Bimo, and then suggests a coexistence of diversified color systems. In Meigu, the author got a color icon hand-painted by Eryeladu Bimo, which is useful to the study of Bimo's color symbolism. The link between fireplace and three-foot bird, first put forward by the author, deepens and widens the study of Yi's color symbolism.
Chapter3describes the progressive structure of Yi's color symbolism from two-dimension, three-dimension to four-dimension in their traditional perspectives of the universe, and examines the progress of the evolving man's knowledge about color. By involving religion, customs, astrology, calendar and philosophy, it examines the link and integration between the Yi people in Liangshan and the "Five-Element Culture" in Central Plains.
Ancient Chinese had a strict definition about the quality of color. In Chapter4, the author makes a specific analysis of Yi's color representation based on black, white, red, blue and yellow colors and selection of typical cases of Yi's color combination, and refines and establishes the imagination and symbolism of the close link between color and culture. By systematically defining the concepts of "Yin and Yan" and "Life and Death" with the combination of black and white colors, the symbolic relationship between the combination of red and black colors and fire and carbon, water and fire, the sun and the moon, winter solstice and summer solstice and worship, as well as the harmonious unity between the heaven, the earth and the people formed by red, black, and yellow colors, the author verified the existence of "the color of Yi's four regions "and representation of color symbolism, which is of originality.
In Chapter5, by verifying the integration between science and culture with the literature on color both at home and abroad, the author suggests a return of value on color symbolism of Chinese ethnic groups, represented by the Yi people in Liangshan, and highlights the importance of research and maintenance of unique ethic cultures. It concludes that there is an uniformity in the various definitions of color at home and abroad, including Kay and Berlin's program of color perception, three primary colors, light and color, etc.
Aimed at the research program of Yi's color symbolism, the author, with the help of the2009's students from the Department of Decorative Design in the College of Fine Arts, Central Minzhu University, accepted the task of logo design of Suomahua Foundation, a NGO dedicated to the Yi orphans in Liangshan. The practice further confirms that color symbolism plays an important role in design. Being designers, we must enter into the depth of ethnic cultures, and define accurately the true feelings of ethic groups and the meanings of color symbolism. In doing so, we can realize an accurate expression of design orientation. KEY WORDS Liangshan Yi, color symbolism, color combination
引文
1(德)恩斯特·格罗塞《艺术的起源》蔡慕晖译,商务印书馆,1996,p26
2韦多安《凉山彝族文化艺术研究》,巴且日火“论凉山彝族民俗事项中的色彩局域”p504,重庆,四川民族出版社2004
3(德)恩斯特·格罗塞《艺术的起源》蔡慕晖译,商务印书馆,1996
4中央民族学院少数民族语言研究所一组历史文献编辑室编译的岭光波(岭光电)在《凉山彝族习俗》P110
5杨泓《中国古兵器论丛》增订本,文物出版社,1980,P3
6巴莫曲布嫫《神图与鬼板——凉山彝族祝咒文学与宗教绘画考察》广西人民出版社,2004,p19
7《毕摩文化》中国彝族毕摩文化研究中心编印2009年p1
8(韦多安(主编)《凉山彝族文化艺术研究》成都,四川民族出版社2004,p16、17、18)
9刘尧汉《彝族文化放言》武汉,湖北教育出版社2007
10彭德《中华五色》江苏美术出版社2008,p55
11朱文旭《彝族火把节》,重庆,四川民族出版社,2006
12易谋远《彝族古宇宙论与历法研究》北京,科学出版社,2006,p100
13昭乌达蒙族师专学报,汉文哲学社会科学版,1990第3期
14《郭沫若全集·历史编》第一卷,人民出版社1982,p329页
15姜澄清《中国色彩论》兰州,甘肃人民美术出版社2007,p8
M岭光波(岭光电)《凉山彝族习俗》中央民族学院少数民族语言研究所一组历史文献编辑室编译p60
17(美)鲁道夫·阿恩海姆《艺术与视知觉》,北京,中国社会科学出版社,1984,p455
18(美)弗朗兹·博厄斯《原始艺术》金辉译,上海文艺出版社,1989,p4
19王天玺,《宇宙源流论——彝族古代哲学》,昆明：云南人民出版社1999,p20
20马学良(审定),罗国义,陈英(翻译)《宇宙人文论》北京,民族出版社,1984,P23
21朱文旭《彝族火把节》,重庆,四川民族出版社,2006,p90
22朱文旭《彝族火把节》,重庆,四川民族出版社,2006,p12
23王天玺《宇宙源流论——彝族占代哲学》,昆明：云南人民出版社,1999,p23
24王天玺《宇宙源流论——彝族古代哲学》,昆明：云南人民出版社1999,p9
25马学良(审定),罗国义,陈英(翻译)《宇宙人文论》北京,民族出版社,1984,p37、38
26易谋远《彝族古宇宙论与历法研究》北京,科学出版社,2006,p239
27巴莫曲布嫫《神图与鬼板——凉山彝族祝咒文学与宗教绘画考察》南宁,广西人民出版社2004,pl18
28岭光波(岭光电)《凉山彝族习俗》中央民族学院少数民族语言研究所一组历史文献编辑室编译P116
29岭光波(岭光电)《凉山彝族习俗》中央民族学院少数民族语言研究所一组历史文献编辑室编译p102
30(法)茨维坦·托多罗夫《象征理论》王国卿译,北京,商务印书馆,2005
31(美)弗朗兹·博厄斯《原始艺术》金辉译,上海文艺出版社,1989,p113
32(美)鲁道夫·阿恩海姆《艺术与视知觉》北京,中国社会科学出版社1984,p472
33《汪亚尘论艺》上海书画出版社,2010,p247、248
34易谋远《彝族古宇宙论与历法研究》,北京,科学出版社,2006,p95
35韦多安《凉山彝族文化艺术研究》重庆,四川民族出版社,2004,p17
36王天玺《宇宙源流论——彝古代哲学》,刘尧汉《总序》,昆明：云南人民出版社,1999,p29
37朱文旭《彝族火把节》,重庆,四川民族出版社,2006,p90
38朱文旭《彝族火把节》,重庆,四川民族出版社,2006,p88
39韦多安(主编)《凉山彝族文化艺术研究》,罗布合机《彝族少女换裙习俗概述》成都,四川民族出版社,2004,8
40朱文旭《彝族火把节》,重庆,四川民族出版社,2006,p78
41彭德,《中华五色》,江苏美术出版社,2008,p55
42朱文旭《彝族火把节》,重庆,四川民族出版社,2006,p89
43冷光电,《凉山彝族习俗》中央民族学院少数民族语言研究所,彝族历史文献编译室,P115
44冷光电,《凉山彝族习俗》中央民族学院少数民族语言研究所,彝族历史文献编译室p8
45朱文旭《彝族火把节》,重庆,四川民族出版社,2006,p184
46刘尧汉,《彝族文化放言》,武汉：湖北教育出版社,2007
47易谋远,《彝族古宇宙论和历法研究》北京,科学出版社,2006,P284
48李小光《中国先秦信仰与宇宙论——以‘太一生水’为中心的考察》,成都：巴蜀书社,2009,p47—50
49彭德《中华五色》南京,江苏美术出版社,2008,8,p21
50常秉义,《周易与历法》,北京,中央编译出版社,2009,p21
51特列沃·兰姆、贾宁·布里奥,刘国彬译《剑桥年度主题讲座——色彩》,华夏出版社,2006
52(美)鲁道夫·阿恩海姆,《艺术与视知觉》,滕守尧,朱疆源译,北京,中国社会科学出版社,1984,p463
53(美)弗朗兹·博厄斯《原始艺术》金辉译,上海文艺出版社,1989,p10
54(德)爱娃·海勒Eva Heller,《色彩的文化》,吴彤(译)中央编译出版社,2004
55姜澄清,《中国色彩论》,兰州：甘肃人民出版社,2008,p165
56姜澄清,《中国色彩论》,兰州：甘肃人民出版社,2008,p163
57(美)德比·米尔曼Debbie Millman,《平面设计法则》,Lisa Rousseau“色彩”,胡蓝云(译),北京：中国青年出版社,2009,p14、15
1.巴莫阿依嫫(等),《彝族风俗志》,北京,中央民族学院出版社1992
2.白庚胜《色彩与纳西族民俗》北京,社会科学文献出版社2001
3.常秉义,《周易与历法》,北京,中央编译出版社2009
4.陈久金、卢央、刘尧汉,《彝族天文学史》,云南人民出版社 1985
5.陈兆复,《中国少数民族美术史》,北京,中央民族大学出版社2001
6.(德)爱娃·海勒Eva·Heller,吴彤(译),《色彩的文化》,中央编译出版社2004
7.(德)格罗塞Ernst·Grosse,蔡慕晖(译)《艺术的起源》北京,商务印书馆,1996
8.丁世良、赵放(主编),《中国地方志民俗资料汇编·西南卷》,北京,节目文献出版社1991
9.(俄)瓦·康定斯基Kandinsky, W.,李正文、魏大海(译)《艺术中的精神》,北京,人民大学出版社,2003
10.(法)茨维坦·托多罗夫《象征理论》王国卿译,北京,商务印书馆,2005
11.(法)皮埃尔Pierree,J.,狄玉明、江振宵(译),《象征主义艺术》,北京,人民美术出版社1988
12.冯健亲,《色彩》,江苏美术出版社1994
13.贵州省民族研究所、毕节地区彝文翻译组,《西南彝志选》,贵阳,贵州人民出版社,1982
14.《郭沫若全集·历史编》,北京,人民出版社,1982
15.(古希腊)亚里士多德Aristoteles,吴寿彭(译),《天象论,宇宙论》,北京,商务印书馆,2009
16.姜澄清,《中国色彩论》,兰州,甘肃人民出版社,2008
17.冷光电,《凉山彝族习俗》中央民族学院少数民族语言研究所,彝族历史文献编译室(征求意见稿)
18.李小光《中国先秦信仰与宇宙论,以《太一生水》为中心的考察》成都,巴蜀书社,2009
19.《凉山彝族自治州概况》编写组,《凉山彝族自治州概况》北京,民族出版社2009,6
20.刘尧汉,《彝族文化放言》,武汉,湖北教育出版社,2007
21.罗国义、陈英译,马学良审订,《宇宙人文论》,北京,民族出版社,1984
22.陇贤君(执笔)、《中国彝族通史》编委会(编),《中国彝族通史纲要》,昆明,云南民族出版社,1993
23.罗希吾戈,普学旺(译注)《彝族创世史—阿赫希尼摩》昆明,云南民族出版社,1990
24.马学良(审定),罗国义,陈英(翻译)《宇宙人文论》北京,民族出版社,1984
25.马学良,《彝族文化史》,上海,上海人民出版社,1989
26.(明)诸葛之声(撰),刘亚朝(校),《滇史》,潞西,德宏民族出版社,1994
27.(美)弗朗兹·博厄斯《原始艺术》金辉译,上海文艺出版社1989
28.(美)露丝·本尼迪克特Ruth B.,何锡章、黄欢(译),《文化模式》,北京,北京三联出版社,1988
29.(美)鲁道夫·阿恩海姆Arnheim, R.,滕守尧、朱疆源(译),《艺术与视知觉》,成都,四川人民出版社,1998
30.(美)杰克·德·弗拉姆Fiam, Jack D.,欧阳英(译),《马蒂斯论艺术》,济南,山东画报出版社,2004
31.(美)阿恩海姆Arnheim, R.,常友明(译),《色彩论》,昆明,云南人民出版社,1980
32.(美)德比·米尔曼Debbie Millman,胡蓝云(译)《平面设计法则》,北京,中国青年出版社,2009
33.(美)肖恩·亚当斯Sean Adams, N·M, T·S,于洋(译)《色彩应用》北京,中国青年出版社,2007
34.彭德,《中华五色》,江苏美术出版社,2008
35.(清)江慎修,《河洛精蕴》,北京,学苑出版社,1989
36.(瑞士)卡尔·荣格Carl G. Jung,龚卓君(译),《人及其象征》,台北县,立绪文化事业公司,2000
37.(台)李亦园,《人类视野》,上海,上海文艺出版社,1996
38.王天玺,《宇宙源流论——彝族古代哲学》,昆明,云南人民出版社,1999
39.王永强(等),《中国少数民族文化史》西南卷,广西教育出版社,1999
40.王丽珠,《彝族祖先崇拜研究》,昆明,云南人民出版社,1995
41.王应伟,《中国古历通解》,沈阳,辽宁教育出版社,1998
42.汪亚尘(原著),王振选(编),《汪亚尘论艺》,上海书画出版社,2010
43.韦多安《凉山彝族文化艺术研究》重庆,四川民族出版社,2004
44.杨建吾《中国民间色彩民俗》重庆,重庆出版社,2010
45.杨泓《中国古兵器论丛》增订本,北京,文物出版社,1980
46.元阳真人,《黄帝内经》,西南师范大学出版社,1993
47.云南彝族协会、红河州民族研究所,《中国彝族十月太阳历学术讨论会论文集》,昆明,云南民族出版社,1995
48.云南省民间文学集成编辑办公室,《云南彝族歌谣集成》,昆明,云南民族出版社,1986
49.(英)特列沃·兰姆Trevar L.、贾宁·布里奥Janine B.,刘国彬(译),《剑桥年度主题讲座——色彩》,北京,华夏出版社,2006
50.(英)米兰达·布鲁斯·米德福德、飞利浦·威尔金森,周继岚(译),《符号与象征》,北京,三联书店,2010
51.(英)贡布里希Gombrich, E. H. J.,《象征的图像》,上海,上海书画出 版社,1990
52. (英)艾兰Allan, S.,汪涛(译), 《龟之谜——商代神话、祭祀、艺术和宇宙观研究》,北京,商务印书馆,2010
53.(英)马丁·肯普Martin, K.,郭锦辉(译),《看得见的·看不见的,艺术、科学和直觉——从达芬奇到哈勃望远镜》,上海科学技术文献出版社,2009
54.(英)雷蒙德·弗思Ruymond F.,费孝通(译),《人文类型》,北京,商务出版社,1991
55.于艾兰、汪涛、范毓周(主编)《中国古代思维模式与五行说探源》,江苏古籍出版社,1998
56.易谋远,《彝族史要》,北京,社会科学文献出版社,2000
57.易谋远,《彝族古宇宙论和历法研究》北京,科学出版社,2006
58.张福,《彝族古代文化史》,昆明,云南教育出版社,1999
59.张泽洪,《文化传播与仪式象征——中国西南少数民族宗教与道教祭祀仪式比较研究》,四川出版集团巴蜀书社,2008
60.张晓凌,《中国原始艺术精神》,重庆出版社,2004
61.曾珍,《彝文化和楚文化的关联》,昆明,云南人民出版社,2001
62.郑圣冲,《吕格尔的象征哲学》,台中,光启出版社,1984
63.钟世民、周文林(主编),《中国彝族服饰》,云南出版集团公司、云南美术出版社、晨光出版社,2006
64.竺可桢,《天道与人文》,北京,北京出版社,2005
65.朱文旭《彝族火把节》,重庆,四川民族出版社,2006
1.《左转》
2.《国语·周语》
3.《汉书·律历志》
4.清乾隆《云南通志》
5.《西南彝志》
6.《劝善经》
7.红河彝文经典《裴妥梅妮——苏嫫(祖神流源)》
8.云南彝文经典《彝族创世史——阿赫希尼摩》
9.《梅葛》(彝族史诗)
10.《宇宙人文论》(彝)
11.云南省民族民间文学红河调查队整理《阿细的先机》
1.冯健亲,《圆满境界与天人合一》,2001年艺术与科学国际学术研讨论文
2.马学良,《明代彝金文石文献中所见的彝族宗教信仰》,北京：《世界宗教研究》1983.3
3.瓦其比火,《论彝族毕摩绘画艺术的形式表现与审美意识》,四川戏剧,2009.5
4.巴且日火,《论凉山彝族民俗事项中的色彩局域》,韦多安《凉山彝族文化艺术研究》重庆,四川民族出版社,2004
5.一丁,《彝族古宇宙论与历法研究》,《中国史研究动态》2007.8
6.张福,《彝族撒尼泼支系宗教述略》,昆明出版社《云南师大学报》1991.1
7.周钧,《中国传统色彩与流行色》,《2001-2003中国流行色优秀论文集》
1、Albers,J., Interaction of Color,New Haven,CN:Yale University Press,1963(paperback abridgement,1971).
2、Berlin,B.,and Kay,P.,Basic Color Terms:Their Universality and Evolution,Berkeley:university of Califomia Press,1969
3、Boyer,C.B.,The Rainbow:from Myth to Mathematics,New York,London:Thomas Yoseloff,1959.
4、Boynton,R.M.,Human Color Vision,New York:Holt,Rinehart and Winston,1979.
5、Baudelaire,Selected Writings on Artists,Cambridge:Cambridge University Press,1981.
6、Bomford,D.,Kirby,J.,Leighyon,J.,and Roy,A.,Art in the Making:Impressionism,London:Natonal Gallery Publications,1990
7、Gage,J.,Colour and Culture:Parctice and Meaning from Antiquity toAbstraction,London:Thamers and Hudson,1993.
8、Cronly-Dillon,J.R.,Vision and Visual Dysfunction,London:Macmillan,1991.
9、Elderfield,J.,Matisse in the Collection of the Museum of Modern Art,New york:Museum of Modern Art,1978
10、Fauvel,J.,Flood,R.,Shortland,M,.and Wilson,R.(eds.),Let Newton Be:A New Perpsective on his Life and Works,Oxford:Oxford University Press,1989.
11、Feynman,R.P.QED:The Strange Theory of Light and Matter,Princeton,NJ:Princeton University Press,1985.
12、Homer, W.I.,Seurat and the Science of Paintig,Cambridge,MA:Harvard University Press,1964.
13、Hall,M.,Colour and Meaning:Practice and Theory in Renaissance Painting,Cambridge:Cambridge University Press,1992.
14、Kouwer,B.,Colours and their Character:a Psychological study, Gravenhage,1949.
15、Kendall,R.(ed.),Monet by Himself,London:Macdonald Orbis,1989.
16、Kemp,M.,Science and Art,New Haven.CN:Yale University Press,1990.
17、MacAdam,D.L.,Sources of Colour Science,Cambridge,MA:MITPress,1970.
18、Pokorny,J.,Smith, V.C.,Verriest,G.,and Pinckers,A.J.L.G,Congenital and Aquired Color Vision Defects,New York:Grune & Stratton,1979.
19、Riley,B.,Dialogues on Art,London:Zwemmer,1995.
20、The Complete Letters of Vincent Van Gogh,3 vols.,London:Thames and Hudson,1978.