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Histoire d'une couleur #1
小懈薪褨泄. 袉褋褌芯褉褨褟 泻芯谢褜芯褉褍
袉褋褌芯褉褨褟 泻芯谢褜芯褉褍 鈥� 褑械 锌械褉械写褍褋褨屑 褟褋泻褉邪胁芯 芯蟹写芯斜谢械薪邪 褨褋褌芯褉褨褟 谢褞写褋褌胁邪, 邪 锌褉邪褑褨 袩邪褋褌褍褉芯 鈥� 褑械 褏褉芯薪芯谢芯谐褨褔薪邪 锌邪谢褨褌褉邪 泻褍谢褜褌褍褉薪芯谐芯 褉芯蟹胁懈褌泻褍 胁褨写 屑邪薪褍褋泻褉懈锌褌褨胁, 胁褨褌褉邪卸褨胁 褨 谐械褉邪谢褜写懈泻懈 写芯 芯写褟谐褍, 卸懈胁芯锌懈褋褍 褨 屑邪褋芯胁芯褩 泻褍谢褜褌褍褉懈.
效芯屑褍 褋褌邪褉芯写邪胁薪褨 谐褉械泻懈 胁胁邪卸邪谢懈 褋懈薪褨泄 锌芯褌胁芯褉薪懈屑 褨 胁邪褉胁邪褉褋褜泻懈屑? 携泻 胁褨薪 褋褌邪胁 褍芯褋芯斜谢械薪薪褟屑 袛褨胁懈 袦邪褉褨褩 褨 锌芯褌褍卸薪懈屑 械谢械屑械薪褌芯屑 褑械褉泻芯胁薪芯谐芯 芯蟹写芯斜谢械薪薪褟? 携泻 褋懈薪褜芯屑褍 泻芯谢褜芯褉褍 胁写邪谢芯褋褜 锌芯写芯谢邪褌懈 褕谢褟褏 胁褨写 褍芯褋芯斜谢械薪薪褟 胁褨泄褋褜泻芯-锌芯谢褨褌懈褔薪懈褏 褋懈谢 锌褨写 褔邪褋 肖褉邪薪褑褍蟹褜泻芯褩 褉械胁芯谢褞褑褨褩 写芯 褉芯屑邪薪褌懈褔薪芯褩 械锌芯褏懈 斜谢褞蟹褍 褨 屑芯写械褉薪褍?
袦褨褕械谢褜 袩邪褋褌褍褉芯 褉芯蟹谐谢褟写邪褦 褨褋褌芯褉褨褞, 褟泻 泻芯谢褨褉薪褍 锌邪谢褨褌褉褍 屑邪泄褋褌褉邪-褏褍写芯卸薪懈泻邪 鈥� 泻褉褨蟹褜 械锌芯褏褍 薪械芯谢褨褌褍 褨 邪卸 写芯 褌褉褨褍屑褎褍 褋褍褔邪褋薪芯褋褌褨, 泻芯谢懈 胁褨泄褋褜泻芯胁懈泄 芯写褟谐 锌芯褋褌褍锌懈胁褋褟 屑褨褋褑械屑 锌芯胁褋褟泻写械薪薪懈屑 泻谢邪褋懈褔薪懈屑 写卸懈薪褋邪屑, 邪 褋懈薪褨泄 褋褌邪胁 褍芯褋芯斜谢械薪薪褟屑 薪邪褕芯褩 锌谢邪薪械褌懈 褨 褌械褏薪芯谢芯谐褨褔薪芯谐芯 屑邪泄斜褍褌薪褜芯谐芯.
效芯屑褍 褋褌邪褉芯写邪胁薪褨 谐褉械泻懈 胁胁邪卸邪谢懈 褋懈薪褨泄 锌芯褌胁芯褉薪懈屑 褨 胁邪褉胁邪褉褋褜泻懈屑? 携泻 胁褨薪 褋褌邪胁 褍芯褋芯斜谢械薪薪褟屑 袛褨胁懈 袦邪褉褨褩 褨 锌芯褌褍卸薪懈屑 械谢械屑械薪褌芯屑 褑械褉泻芯胁薪芯谐芯 芯蟹写芯斜谢械薪薪褟? 携泻 褋懈薪褜芯屑褍 泻芯谢褜芯褉褍 胁写邪谢芯褋褜 锌芯写芯谢邪褌懈 褕谢褟褏 胁褨写 褍芯褋芯斜谢械薪薪褟 胁褨泄褋褜泻芯-锌芯谢褨褌懈褔薪懈褏 褋懈谢 锌褨写 褔邪褋 肖褉邪薪褑褍蟹褜泻芯褩 褉械胁芯谢褞褑褨褩 写芯 褉芯屑邪薪褌懈褔薪芯褩 械锌芯褏懈 斜谢褞蟹褍 褨 屑芯写械褉薪褍?
袦褨褕械谢褜 袩邪褋褌褍褉芯 褉芯蟹谐谢褟写邪褦 褨褋褌芯褉褨褞, 褟泻 泻芯谢褨褉薪褍 锌邪谢褨褌褉褍 屑邪泄褋褌褉邪-褏褍写芯卸薪懈泻邪 鈥� 泻褉褨蟹褜 械锌芯褏褍 薪械芯谢褨褌褍 褨 邪卸 写芯 褌褉褨褍屑褎褍 褋褍褔邪褋薪芯褋褌褨, 泻芯谢懈 胁褨泄褋褜泻芯胁懈泄 芯写褟谐 锌芯褋褌褍锌懈胁褋褟 屑褨褋褑械屑 锌芯胁褋褟泻写械薪薪懈屑 泻谢邪褋懈褔薪懈屑 写卸懈薪褋邪屑, 邪 褋懈薪褨泄 褋褌邪胁 褍芯褋芯斜谢械薪薪褟屑 薪邪褕芯褩 锌谢邪薪械褌懈 褨 褌械褏薪芯谢芯谐褨褔薪芯谐芯 屑邪泄斜褍褌薪褜芯谐芯.
216 pages, Hardcover
First published January 1, 2000
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About the author
Michel Pastoureau
98听books242听followersPastoureau was born in Paris on 17 June 1947. He studied at the 脡cole Nationale des Chartes, a college for prospective archivists and librarians. After writing his 1972 thesis about heraldic bestiaries in the Middle Ages, he worked in the coins, medals and antiquities department of the French National Library until 1982.
Since 1983 he has held the Chair of History of Western Symbolism (Chaire d'histoire de la symbolique occidentale) and is a director of studies at the Sorbonne's 脡cole pratique des hautes 茅tudes. He is an academician of the Acad茅mie internationale d'h茅raldique (International Academy of Heraldry) and vice-president of the Soci茅t茅 fran莽aise d'h茅raldique (French Heraldry Society). When he received an honorary doctorate from the University of Lausanne in 1996, he was described as an eminent scholar who has made a radical contribution to several disciplines.
Professor Pastoureau has published widely, including work on the history of colours, animals, symbols, and the Knights of the Round Table. He has also written on emblems and heraldry, as well as sigillography and numismatics.
Since 1983 he has held the Chair of History of Western Symbolism (Chaire d'histoire de la symbolique occidentale) and is a director of studies at the Sorbonne's 脡cole pratique des hautes 茅tudes. He is an academician of the Acad茅mie internationale d'h茅raldique (International Academy of Heraldry) and vice-president of the Soci茅t茅 fran莽aise d'h茅raldique (French Heraldry Society). When he received an honorary doctorate from the University of Lausanne in 1996, he was described as an eminent scholar who has made a radical contribution to several disciplines.
Professor Pastoureau has published widely, including work on the history of colours, animals, symbols, and the Knights of the Round Table. He has also written on emblems and heraldry, as well as sigillography and numismatics.
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February 16, 2016
YOUTHFUL BLUES
We are so used to see colours at their best that we no longer see their richness. Any tone, any tint, any hue now is as it should be.
But it wasn鈥檛 always like this. Not too long ago, endowing colours to objects was a difficult, expensive, laborious, and sometime politically dangerous endeavour. Back then it was not so much their chromatic tone as their depth that mattered. Luminosity and richness, saturation and concentration were the valued qualities of a colour. Those were the colouring values. So much so that some tints were ignored.
From Pastoureau we learn that for a fairly long time, in the West, only a few colours were talked about and blue was not one of them. Blue is a young colour.
Talking about a colour means endowing colour with a place in language. The Greeks did not really have a term for blue. They used the word Glaukos to refer to a light tone, while Kyaneus alluded to a mineral and to being dark. And we have Homer missing his blues and alluding to the wine-dark sea. They did however have the word Indikon, but it referred to the material pigment of Asian origins, rather than to its chromatics. Even in the Bible blue is not found, while red has a blatant presence. It is after all a fairly violent book. The Romans knew blue, but paid little attention to it since they had seen that the Barbarians (from the Germanic lands and Brittany) painted their own selves in blue. The Romans relegated the tone to the lower classes and to backgrounds in decorative uses.
The conspicuous neglect of blue in the Greek world perplexed the nineteenth century when it was concluded that the Greeks simply could not see, physiologically, this colour. Thanks to a social and historical approach our current understanding is that blue had not gained its own cultural space. As Pastoureau says, it was not a question of vision but of perception.
The most secured path when tracking the history of colour is to follow that of dyeing and dyers. And this began in Asia and Africa, and at the beginning there were only three tones: white, black and red. They were the three poles for the two axes. White was the centre and Black was its opposite in terms of Luminosity, while Red was the other extreme for Density.
When cultural consciousness began identifying blue, Latin had to borrow new terms from other languages. Azureus came from Arabic while Blavus arrived from Germanic tongues. Red, however, not only did have more of its own language but the word colour itself implied red. Some languages such as Spanish have kept the word colorado for red.
If blue is not a biblical colour, it did not manage to get its codified place in Christian liturgy either. Worship was cast in red, white, black, green, gold and violet. Blue, however, begins to appear, modestly, in the arts in the West around 1000, but was not clearly distinguishable until just less than two centuries later. Its advent was embroiled in the theological discussion on whether colour was a quality of light or of the object. If the former, then it was also divine and immaterial, but if it pertained to the latter, its materiality immediately demoted it to the superficial Vanitas. Venerated or shunned. This was the Cluniac and Cistercian debate.
Those who enjoy iridescence have to thank Abbot Suger鈥檚 passionate defence of colour in his De consecratione. He presented it as a component of godly light and therefore the concomitant element of the visual and architectural arts that this treatise strongly defended. For it is in the filtering of the sacred sunrays that blue makes a magnificent presence as it pervades with its hue the glorious space. In Suger鈥檚 Abbey the anointing blue was christened as Bleu Saint Denis.
Having acquired the same preciosity as Sapphire, the hue extended its presence to enamels and to illuminations of luxurious book pages. In manuscripts it jumps from backgrounds to the most exquisite presence, the tunic or the mantle of the virgin.
From art it was easy for blue to run onto people鈥檚 clothes, and in France we have King Saint Louis ostentatiously wearing it. Of course, the Capetians had already started using it somewhat earlier as they adopted the virginal Lys and the Azur for their armour. Louis made blue the hue of royalty and Heraldry provided the international channels for further European distribution.
Suger was right but so was Saint Bernard. Colour is part of light but its materiality cannot be denied either. Colour has its physics and its chemistry. Pigments, accessing to them and their deployment were not obvious tasks. Lapis lazuli, indigo (indigotine) or woad for blues, and madder and cochineal for reds, turned men鈥檚 minds and purses around. Pastoureau does not dwell in detail on the peculiarities in the handling of these pigments, but gives a fascinating account of how different and powerful economic centres developed in Europe: in Thuringia, Tuscany and the Languedoc their wealth had been tinted with blue.
The rapid ascendancy of blue continued during the middle ages and, together with green and yellow, it succeeded in breaking the stable trio of white-black-red. But another black entered the scene and the Black Death in mid fourteenth century halted, amongst other things, the way the new array of tones were perceived.
The aftermath of the plague brought about the stringent Sumptuary Laws. Pastoureau unfolds the tripartite dimensions of these Laws: the Economic, the Ethical and the Ideological. But all these laws tinted with different moral tones all the colours, with red acquiring its reprehensible scarlet tone. Red was seen in its full amoral blush, while blue, similarly to the way it avoided liturgy, also stood on the sides of morality.
If penance filtered sin in the coloured senses, their denial would mark the path to follow. The fifteenth century is the century of black and the budding house of Burgundy, when it spread its cosmopolitan presence, would then install it in several of the European courts. Blue, in its darker variety benefited from its blackish lustre.
When Christian religion split again, its hues also separated and we see a renewal of the Cluniac-Cistercian debate amongst the Reformation and the Catholic branches. But this time it was only the chromatic aspect, and not the richness or saturation of the tone, what was judged as a contemptible display of wealth.
It had to be the century of the Enlightenment when light was finally shed on colour. Newton displayed the full spectrum and with it black and white ceased to be seen as colours. The rainbow, which for centuries had been identified as a gradation of six colours, finally acquired its seventh, blue. The labels of Primary and Complementary were attached to the different wavelengths, and new additional qualities were identified. Some hues were cold and some warm.
And yet, Newton forgot about perception. It was Goethe who recovered it from Aristotle in his Zur Farbenlehre in 1810. The subject, and not just the prism, was important in the formation of colour. Goethe also made blue the hue of Romanticism when he covered his Werther in this tone. And it was also in Germanic lands were the very successful Prussian blue was precipitated and where later the synthetic anilines started a new, and huge, industry.
Blue is both a beautiful and fascinating subject and Pastoureau draws attention to many interesting aspects. But it is a complex theme, and while at times a bit repetitive, he does not discuss enough the uses of the blue in the Ancient Middle East and Egypt, nor its appearance in decorative uses in the Greek world. Similarly, the uses of blue in the Arabic world and its entrance in the West through them would have been a welcomed angle.
After reading this book I now see blue differently. It is certainly much more luminous.
October 30, 2022
袝褋谢懈 袩邪褋褌褍褉芯 褍写懈胁谢褟械褌褋褟, 锌芯褔械屑褍 写邪卸械 胁 褋褉械写薪械胁械泻芯胁褘褏 械胁褉芯锌械泄褋泻懈褏 褋芯褔懈薪械薪懈褟褏, 薪械 谐芯胁芯褉褟 芯 写褉械胁薪械谐褉械褔械褋泻懈褏 懈 写褉械胁薪械褉懈屑褋泻懈褏, 薪械 褍锌芯屑懈薪邪械褌褋褟 褋懈薪懈泄 褑胁械褌, 屑械薪褟 褍写懈胁谢褟械褌, 锌芯褔械屑褍 芯薪, 斜褍写褍褔懈 懈褋褌芯褉懈泻芯屑, 胁 褋胁芯械泄 泻薪懈谐械 "小懈薪懈泄. 袠褋褌芯褉懈褟 褑胁械褌邪" 谢懈褕褜 屑械谢褜泻芯屑 褍锌芯屑懈薪邪械褌 芯 褋懈薪懈褏 泻褉邪褋泻邪褏, 锌褉懈胁芯蟹懈屑褘褏 褋 袙芯褋褌芯泻邪 - 懈薪写懈谐芯 懈蟹 袠薪写懈懈 懈 谢邪蟹褍褉懈褌 懈蟹 袩械褉褋懈懈, 邪 懈褋褌芯褉懈褟 懈褏 褍锌芯褌褉械斜谢械薪懈褟 薪邪 袙芯褋褌芯泻械 胁 写褉械胁薪芯褋褌懈 胁芯芯斜褖械 薪械 褉邪褋泻褉褘胁邪械褌褋褟. 袩邪褉邪写芯泻褋. 小懈薪懈泄 褑胁械褌 袛褉械胁薪褟褟 袚褉械褑懈褟 懈 袪懈屑 薪械 蟹薪邪谢懈, 褋褔懈褌邪谢懈 胁邪褉胁邪褉褋泻懈屑懈, 锌芯褋泻芯谢褜泻褍 写褉械胁薪懈械 泻械谢褜褌褘 懈 谐械褉屑邪薪褑褘 懈褋锌芯谢褜蟹芯胁邪谢懈 锌褉懈褉芯写薪褘泄 褋懈薪懈泄 泻褉邪褋懈褌械谢褜 胁邪泄写邪 写谢褟 褍褋褌褉邪褕械薪懈褟 褉懈屑谢褟薪, 褉邪褋泻褉邪褕懈胁邪褟 褋胁芯懈 褌械谢邪. 小懈薪懈械 泻褉邪褋泻懈 薪邪 袙芯褋褌芯泻械 斜褘谢懈 懈蟹写褉械胁谢械 懈蟹胁械褋褌薪褘, 锌褉懈胁芯蟹懈谢懈褋褜 胁 袝胁褉芯锌褍, 薪芯 泻邪泻 芯薪懈 懈褋锌芯谢褜蟹芯胁邪谢懈褋褜 胁 写褉械胁薪械泄 袠薪写懈懈 懈谢懈 写褉械胁薪懈褏 谐芯褋褍写邪褉褋褌胁邪褏 薪邪 褌械褉褉懈褌芯褉懈懈 袩械褉褋懈懈, - 泻 褋芯卸邪谢械薪懈褞, 芯泻邪蟹邪谢芯褋褜 蟹邪 锌褉械写械谢邪屑懈 薪邪褍褔薪芯谐芯 懈薪褌械褉械褋邪 袩邪褋褌褍褉芯.
小懈薪懈泄 褑胁械褌 锌褉懈褕械谢 懈屑械薪薪芯 褋 袙芯褋褌芯泻邪, 锌芯褝褌芯屑褍, 薪邪 屑芯泄 胁蟹谐谢褟写, 胁 褉邪斜芯褌械 懈屑械械褌褋褟 褋褍褖械褋褌胁械薪薪褘泄 锌褉芯斜械谢 锌芯 懈褋褌芯褉懈懈 褑胁械褌邪 胁 写褉褍谐懈褏 褔邪褋褌褟褏 褋胁械褌邪.
袙 袝胁褉芯锌褍 谢邪蟹褍褉懈褌 懈谢懈 谢褟锌懈褋-谢邪蟹褍褉褜 锌芯褋褌邪胁谢褟谢邪褋褜 胁锌谢芯褌褜 写芯 泻芯薪褑邪 小褉械写薪懈褏 胁械泻芯胁 懈褋泻谢褞褔懈褌械谢褜薪芯 懈蟹 笑械薪褌褉邪谢褜薪芯泄 袗蟹懈懈, 懈 懈蟹-蟹邪 褝褌芯谐芯 写邪卸械 薪邪蟹褘胁邪谢褋褟 "斜褍褏邪褉褋泻懈屑 泻邪屑薪械屑".
袙 谐谢邪胁械 芯 褉邪薪薪械屑 褋褉械写薪械胁械泻芯胁褜械 袩邪褋褌褍褉芯 锌懈褕械褌, 褔褌芯 薪械褌 薪懈 芯写薪芯谐芯 褌芯锌芯薪懈屑邪 褋芯 褋谢芯胁芯屑 褋懈薪懈泄. 袛邪, 写谢褟 袝胁褉芯锌褘 褝褌芯 褍褌胁械褉卸写械薪懈械 褋锌褉邪胁写械谢懈胁芯, 薪芯 薪械 写谢褟 芯褋褌邪谢褜薪芯谐芯 屑懈褉邪! 袛褉械胁薪械褌褞褉泻褋泻芯械 谐芯褋褍写邪褉褋褌胁芯 薪邪蟹褘胁邪谢芯褋褜 G枚kt眉rk, (G枚k - 褌褞褉泻褋泻懈泄 泻芯褉械薪褜 褋谢芯胁邪 "褋懈薪懈泄"), 褔褌芯 芯蟹薪邪褔邪械褌 谐芯谢褍斜褘械 懈谢懈 褋懈薪懈械 褌褞褉泻懈. 袙 袣邪蟹邪褏褋褌邪薪械 屑薪芯谐芯 褌芯锌芯薪懈屑芯胁 褋芯 褋谢芯胁芯屑 "泻萤泻", 褔褌芯 芯蟹薪邪褔邪械褌 褋懈薪懈泄. 孝褞褉泻邪屑 褋懈薪懈泄 褑胁械褌 斜褘谢 懈蟹胁械褋褌械薪 懈蟹写褉械胁谢械, 斜芯谢械械 褌芯谐芯, 芯薪 斜褘谢 褋邪泻褉邪谢械薪, 懈 胁芯 屑薪芯谐芯屑 褝褌芯 斜褘谢芯 褋胁褟蟹邪薪芯 褋 泻褍谢褜褌芯屑 斜芯谐邪 薪械斜邪 孝械薪谐褉懈. 袘褍褏邪褉褋泻懈械, 褋邪屑邪褉泻邪薪写褋泻懈械 懈 褏懈胁懈薪褋泻懈械 泻褍锌芯谢邪 懈屑械褞褌 褟褉泻芯 谢邪蟹褍褉薪褘泄 褑胁械褌 懈 锌芯褋褌褉芯械薪褘 胁 褋褉械写薪懈械 胁械泻邪.
袠褋褌芯褉懈褟 褑胁械褌邪 褍 袦懈褕械谢褟 袩邪褋褌褍褉芯 - 褝褌芯 胁 锌械褉胁褍褞 芯褔械褉械写褜, 懈褋褌芯褉懈褟 褑胁械褌邪 胁 褉械谢懈谐懈懈, 褉邪蟹褍屑械械褌褋褟, 褏褉懈褋褌懈邪薪褋泻芯泄, 懈 斜芯谢械械 褌芯谐芯, 胁 锌褉芯褌械褋褌邪薪褌褋泻芯泄. 啸芯褌褟 屑芯卸械褌 斜褘褌褜, 褝褌芯 褋胁褟蟹邪薪芯 褋 褌械屑, 褔褌芯 斜芯谢褜褕懈薪褋褌胁芯 褋芯褏褉邪薪懈胁褕懈褏褋褟 邪褉褌械褎邪泻褌芯胁 - 褝褌芯 褉械谢懈谐懈芯蟹薪褘械. 袙芯 胁褌芯褉褍褞 芯褔械褉械写褜, 懈褋褌芯褉懈褟 褑胁械褌邪 胁 袝胁褉芯锌械. 协褌芯 褋褍褖械褋褌胁械薪薪芯 芯谐褉邪薪懈褔懈胁邪械褌 褉邪屑泻懈 懈褋褋谢械写芯胁邪薪懈褟 懈 胁 泻邪泻芯泄-褌芯 屑械褉械 屑芯卸薪芯 写邪卸械 薪邪蟹胁邪褌褜 写懈褋泻褉懈屑懈薪邪褑懈芯薪薪褘屑 锌芯写褏芯写芯屑 泻 懈蟹褍褔械薪懈褞 锌褉械写屑械褌邪.
袠蟹 薪械褋芯屑薪械薪薪褘褏 写芯褋褌芯懈薪褋褌胁 屑芯卸薪芯 褍锌芯屑褟薪褍褌褜, 褔褌芯 胁 泻薪懈谐械 屑薪芯谐芯 褍写懈胁懈褌械谢褜薪褘褏 褎邪泻褌芯胁 懈 薪械 褌芯谢褜泻芯 锌褉芯 褋懈薪懈泄 褑胁械褌. 袠薪褌械褉械褋薪褘 懈褋褌芯褉懈懈 懈褋锌芯谢褜蟹芯胁邪薪懈褟 褉邪褋褌懈褌械谢褜薪芯谐芯 泻褉邪褋懈褌械谢褟 胁邪泄写褘, 褋芯蟹写邪薪懈褟 褎褉邪薪褑褍蟹褋泻芯谐芯 褎谢邪谐邪, 褋芯蟹写邪薪懈褟 薪芯胁芯谐芯 褋懈薪褌械褌懈褔械褋泻芯谐芯 芯褌褌械薪泻邪 褋懈薪械谐芯 - "斜械褉谢懈薪褋泻邪褟 谢邪蟹褍褉褜", 袧褜褞褌芯薪芯胁褘褏 芯褌泻褉褘褌懈泄 胁 褑胁械褌械, 懈褋褌芯褉懈懈 写卸懈薪褋芯胁.
袠薪褌械褉械褋薪芯, 褔褌芯 锌芯 锌褉械写褋褌邪胁谢械薪懈褟屑 写褉械胁薪懈褏, 蟹械谢械薪褘泄 褟胁谢褟械褌褋褟 褋褉械写薪懈屑 屑械卸写褍 褔械褉薪芯褌芯泄, 斜械谢懈蟹薪芯泄 懈 泻褉邪褋薪芯褌芯泄. 孝邪泻卸械 蟹邪薪懈屑邪褌械谢褜薪褘 褎邪泻褌褘 褑胁械褌芯胁芯褋锌褉懈褟褌懈褟. 校 薪械泻芯褌芯褉褘褏 薪邪褉芯写芯胁 袗褎褉懈泻懈 褑胁械褌邪 写械谢褟褌褋褟 薪邪 谐褉褍褋褌薪褘械 懈 胁械褋械谢褘械, 褍 褟锌芯薪褑械胁 斜械谢褘褏 芯褌褌械薪泻芯胁 芯褔械薪褜 屑薪芯谐芯, 胁 芯褋薪芯胁薪芯屑 芯褌谢懈褔邪褞褖懈械褋褟 褋褌械锌械薪褜褞 斜谢械褋泻邪 懈 屑邪褌芯胁芯褋褌懈, 褔褌芯 蟹邪锌邪写薪褘泄 褔械谢芯胁械泻 薪械 褋锌芯褋芯斜械薪 褉邪蟹谢懈褔邪褌褜. 协褌芯 胁械褋褜屑邪 蟹邪薪懈屑邪褌械谢褜薪邪褟 泻薪懈谐邪, 泻芯褌芯褉邪褟 芯褔械薪褜 褉邪褋褕懈褉懈褌 袙邪褕 泻褉褍谐芯蟹芯褉.
小懈薪懈泄 褑胁械褌 锌褉懈褕械谢 懈屑械薪薪芯 褋 袙芯褋褌芯泻邪, 锌芯褝褌芯屑褍, 薪邪 屑芯泄 胁蟹谐谢褟写, 胁 褉邪斜芯褌械 懈屑械械褌褋褟 褋褍褖械褋褌胁械薪薪褘泄 锌褉芯斜械谢 锌芯 懈褋褌芯褉懈懈 褑胁械褌邪 胁 写褉褍谐懈褏 褔邪褋褌褟褏 褋胁械褌邪.
袙 袝胁褉芯锌褍 谢邪蟹褍褉懈褌 懈谢懈 谢褟锌懈褋-谢邪蟹褍褉褜 锌芯褋褌邪胁谢褟谢邪褋褜 胁锌谢芯褌褜 写芯 泻芯薪褑邪 小褉械写薪懈褏 胁械泻芯胁 懈褋泻谢褞褔懈褌械谢褜薪芯 懈蟹 笑械薪褌褉邪谢褜薪芯泄 袗蟹懈懈, 懈 懈蟹-蟹邪 褝褌芯谐芯 写邪卸械 薪邪蟹褘胁邪谢褋褟 "斜褍褏邪褉褋泻懈屑 泻邪屑薪械屑".
袙 谐谢邪胁械 芯 褉邪薪薪械屑 褋褉械写薪械胁械泻芯胁褜械 袩邪褋褌褍褉芯 锌懈褕械褌, 褔褌芯 薪械褌 薪懈 芯写薪芯谐芯 褌芯锌芯薪懈屑邪 褋芯 褋谢芯胁芯屑 褋懈薪懈泄. 袛邪, 写谢褟 袝胁褉芯锌褘 褝褌芯 褍褌胁械褉卸写械薪懈械 褋锌褉邪胁写械谢懈胁芯, 薪芯 薪械 写谢褟 芯褋褌邪谢褜薪芯谐芯 屑懈褉邪! 袛褉械胁薪械褌褞褉泻褋泻芯械 谐芯褋褍写邪褉褋褌胁芯 薪邪蟹褘胁邪谢芯褋褜 G枚kt眉rk, (G枚k - 褌褞褉泻褋泻懈泄 泻芯褉械薪褜 褋谢芯胁邪 "褋懈薪懈泄"), 褔褌芯 芯蟹薪邪褔邪械褌 谐芯谢褍斜褘械 懈谢懈 褋懈薪懈械 褌褞褉泻懈. 袙 袣邪蟹邪褏褋褌邪薪械 屑薪芯谐芯 褌芯锌芯薪懈屑芯胁 褋芯 褋谢芯胁芯屑 "泻萤泻", 褔褌芯 芯蟹薪邪褔邪械褌 褋懈薪懈泄. 孝褞褉泻邪屑 褋懈薪懈泄 褑胁械褌 斜褘谢 懈蟹胁械褋褌械薪 懈蟹写褉械胁谢械, 斜芯谢械械 褌芯谐芯, 芯薪 斜褘谢 褋邪泻褉邪谢械薪, 懈 胁芯 屑薪芯谐芯屑 褝褌芯 斜褘谢芯 褋胁褟蟹邪薪芯 褋 泻褍谢褜褌芯屑 斜芯谐邪 薪械斜邪 孝械薪谐褉懈. 袘褍褏邪褉褋泻懈械, 褋邪屑邪褉泻邪薪写褋泻懈械 懈 褏懈胁懈薪褋泻懈械 泻褍锌芯谢邪 懈屑械褞褌 褟褉泻芯 谢邪蟹褍褉薪褘泄 褑胁械褌 懈 锌芯褋褌褉芯械薪褘 胁 褋褉械写薪懈械 胁械泻邪.
袠褋褌芯褉懈褟 褑胁械褌邪 褍 袦懈褕械谢褟 袩邪褋褌褍褉芯 - 褝褌芯 胁 锌械褉胁褍褞 芯褔械褉械写褜, 懈褋褌芯褉懈褟 褑胁械褌邪 胁 褉械谢懈谐懈懈, 褉邪蟹褍屑械械褌褋褟, 褏褉懈褋褌懈邪薪褋泻芯泄, 懈 斜芯谢械械 褌芯谐芯, 胁 锌褉芯褌械褋褌邪薪褌褋泻芯泄. 啸芯褌褟 屑芯卸械褌 斜褘褌褜, 褝褌芯 褋胁褟蟹邪薪芯 褋 褌械屑, 褔褌芯 斜芯谢褜褕懈薪褋褌胁芯 褋芯褏褉邪薪懈胁褕懈褏褋褟 邪褉褌械褎邪泻褌芯胁 - 褝褌芯 褉械谢懈谐懈芯蟹薪褘械. 袙芯 胁褌芯褉褍褞 芯褔械褉械写褜, 懈褋褌芯褉懈褟 褑胁械褌邪 胁 袝胁褉芯锌械. 协褌芯 褋褍褖械褋褌胁械薪薪芯 芯谐褉邪薪懈褔懈胁邪械褌 褉邪屑泻懈 懈褋褋谢械写芯胁邪薪懈褟 懈 胁 泻邪泻芯泄-褌芯 屑械褉械 屑芯卸薪芯 写邪卸械 薪邪蟹胁邪褌褜 写懈褋泻褉懈屑懈薪邪褑懈芯薪薪褘屑 锌芯写褏芯写芯屑 泻 懈蟹褍褔械薪懈褞 锌褉械写屑械褌邪.
袠蟹 薪械褋芯屑薪械薪薪褘褏 写芯褋褌芯懈薪褋褌胁 屑芯卸薪芯 褍锌芯屑褟薪褍褌褜, 褔褌芯 胁 泻薪懈谐械 屑薪芯谐芯 褍写懈胁懈褌械谢褜薪褘褏 褎邪泻褌芯胁 懈 薪械 褌芯谢褜泻芯 锌褉芯 褋懈薪懈泄 褑胁械褌. 袠薪褌械褉械褋薪褘 懈褋褌芯褉懈懈 懈褋锌芯谢褜蟹芯胁邪薪懈褟 褉邪褋褌懈褌械谢褜薪芯谐芯 泻褉邪褋懈褌械谢褟 胁邪泄写褘, 褋芯蟹写邪薪懈褟 褎褉邪薪褑褍蟹褋泻芯谐芯 褎谢邪谐邪, 褋芯蟹写邪薪懈褟 薪芯胁芯谐芯 褋懈薪褌械褌懈褔械褋泻芯谐芯 芯褌褌械薪泻邪 褋懈薪械谐芯 - "斜械褉谢懈薪褋泻邪褟 谢邪蟹褍褉褜", 袧褜褞褌芯薪芯胁褘褏 芯褌泻褉褘褌懈泄 胁 褑胁械褌械, 懈褋褌芯褉懈懈 写卸懈薪褋芯胁.
袠薪褌械褉械褋薪芯, 褔褌芯 锌芯 锌褉械写褋褌邪胁谢械薪懈褟屑 写褉械胁薪懈褏, 蟹械谢械薪褘泄 褟胁谢褟械褌褋褟 褋褉械写薪懈屑 屑械卸写褍 褔械褉薪芯褌芯泄, 斜械谢懈蟹薪芯泄 懈 泻褉邪褋薪芯褌芯泄. 孝邪泻卸械 蟹邪薪懈屑邪褌械谢褜薪褘 褎邪泻褌褘 褑胁械褌芯胁芯褋锌褉懈褟褌懈褟. 校 薪械泻芯褌芯褉褘褏 薪邪褉芯写芯胁 袗褎褉懈泻懈 褑胁械褌邪 写械谢褟褌褋褟 薪邪 谐褉褍褋褌薪褘械 懈 胁械褋械谢褘械, 褍 褟锌芯薪褑械胁 斜械谢褘褏 芯褌褌械薪泻芯胁 芯褔械薪褜 屑薪芯谐芯, 胁 芯褋薪芯胁薪芯屑 芯褌谢懈褔邪褞褖懈械褋褟 褋褌械锌械薪褜褞 斜谢械褋泻邪 懈 屑邪褌芯胁芯褋褌懈, 褔褌芯 蟹邪锌邪写薪褘泄 褔械谢芯胁械泻 薪械 褋锌芯褋芯斜械薪 褉邪蟹谢懈褔邪褌褜. 协褌芯 胁械褋褜屑邪 蟹邪薪懈屑邪褌械谢褜薪邪褟 泻薪懈谐邪, 泻芯褌芯褉邪褟 芯褔械薪褜 褉邪褋褕懈褉懈褌 袙邪褕 泻褉褍谐芯蟹芯褉.
August 10, 2018
Argh! I wrote a 300 word review for this book and it was eaten by the GR popup :(
Will rewrite.
In two words: blue rocks. And there are other colors too.
La guerre entre guede rt garance a 茅t茅 gagn茅 par indigo!
Will rewrite.
In two words: blue rocks. And there are other colors too.
La guerre entre guede rt garance a 茅t茅 gagn茅 par indigo!
August 10, 2017
屑邪斜褍褌褜, 褟 褔懈褌邪谢邪 褩褏 褍 薪械锌褉邪胁懈谢褜薪芯屑褍 锌芯褉褟写泻褍: 锌褨褋谢褟 芦褔芯褉薪芯谐芯禄 芦褋懈薪褨泄禄 蟹写邪褦褌褜褋褟 薪械 褌邪泻懈屑 覒褉褍薪褌芯胁薪懈屑 褨 胁褉邪卸邪褦 胁卸械 褌褉芯褏懈 屑械薪褕械.
褏芯褔邪 锌邪褋褌褍褉芯 褋邪屑 锌懈褕械, 褖芯 写谢褟 褨褋褌芯褉懈泻邪 谐芯谢芯胁薪械 鈥� 锌芯褟褋薪懈褌懈, 蟹胁褨写泻懈 蟹薪械薪邪褑褜泻邪 斜械褉械褌褜褋褟 屑芯写邪 薪邪 褋懈薪褨泄, 胁褨薪 褉芯蟹锌芯胁褨写邪褦 斜褨谢褜褕械 锌褉芯 褋褌邪薪 褋锌褉邪胁, 邪薪褨卸 锌褉芯 褌械, 褟泻 褌邪泻 胁懈泄褕谢芯, 褌邪 泄 胁褨写锌芯胁褨写褜 薪邪 褑械 写褉褍谐械 蟹邪锌懈褌邪薪薪褟 蟹邪蟹胁懈褔邪泄 蟹胁褍褔懈褌褜 芦斜芯 谢褞写懈禄. 薪邪锌褉懈泻谢邪写, 写邪胁薪褨 褉懈屑谢褟薪懈 薪械 谢褞斜懈谢懈 褋懈薪褜芯谐芯, 斜芯 胁 褋懈薪褜芯屑褍 褏芯写懈谢懈 胁邪褉胁邪褉懈, 邪 褖械 泄芯谐芯 胁胁邪卸邪谢懈 褌褉邪褍褉薪懈屑. 邪 褉械褎芯褉屑邪褌芯褉懈, 薪邪胁锌邪泻懈, 胁锌芯写芯斜邪谢懈 褋懈薪褨泄, 斜芯 褋锌械褉褕褍 胁薪邪褋谢褨写芯泻 锌芯褕懈褉械薪薪褟 蟹邪泻芯薪褨胁 锌褉芯褌懈 褉芯蟹泻芯褕褨 (褨 写芯褋褟谐薪械薪褜 褎邪褉斜褍胁邪谢褜薪芯褩 锌褉芯屑懈褋谢芯胁芯褋褌褨) 薪邪斜褍胁 锌芯锌褍谢褟褉薪芯褋褌褨 褔芯褉薪懈泄, 邪 锌芯褌褨屑 褍卸械 褟泻芯褋褜 谢芯谐褨褔薪芯 褋褌邪胁褋褟 锌械褉械褏褨写 写芯 褌褉芯褕泻懈 褋胁褨褌谢褨褕芯谐芯 泻芯谢褜芯褉褍, 锌芯屑褨褉泻芯胁邪薪芯谐芯 泄 薪械斜械褋薪芯谐芯.
邪谢械 褋屑邪褔薪懈褏 写械褌邪谢械泄 褍 褑褨泄 泻薪懈卸褑褨 写褍卸械 斜邪谐邪褌芯. 锌褉芯 斜谢邪泻懈褌薪褨 芯褔褨 褟泻 蟹薪邪泻 卸褨薪芯褔芯褩 褉芯蟹锌褍褋薪芯褋褌褨 胁 邪薪褌懈褔薪芯屑褍 褋胁褨褌褨 (褖芯 芯褋芯斜谢懈胁芯 褑褨泻邪胁芯, 褟泻褖芯 胁褉邪褏褍胁邪褌懈, 褖芯 薪褨 谐褉械褑褜泻邪, 薪褨 谢邪褌懈薪褋褜泻邪 邪薪褌懈褔薪褨褋褌褜 薪械 屑邪谢邪 褋谢芯胁邪 写谢褟 胁懈褉邪蟹薪芯谐芯 芯锌懈褋褍 褋懈薪褜芯谐芯 泻芯谢褜芯褉褍 鈥� 锌褉懈泻屑械褌薪懈泻懈, 褟泻褨 写芯 薪褜芯谐芯 蟹邪褋褌芯褋芯胁褍胁邪谢懈, 斜褍谢懈 胁 薪邪泄泻褉邪褖芯屑褍 褉邪蟹褨 锌芯谢褨褋械屑邪薪褌懈褔薪褨). 锌褉芯 褋锌械泻褌褉, 褟泻懈泄 褨褖械 褌懈褋褟褔褍 褉芯泻褨胁 褌芯屑褍 褋锌褉懈泄屑邪谢懈 蟹芯胁褋褨屑 薪械 褌邪泻, 褟泻 褋褜芯谐芯写薪褨, 褨 胁 褟泻芯屑褍 褋懈薪褨泄 褨 卸芯胁褌懈泄 斜褍谢懈 褌邪泻褨 写邪谢械泻褨, 褖芯 薪褨褏褌芯 泄 薪械 蟹屑褨褕褍胁邪胁 褩褏, 褖芯斜 芯褌褉懈屑邪褌懈 蟹械谢械薪懈泄. 锌褉芯 蟹邪泻芯薪懈, 褟泻褨 褋褌芯谢褨褌褌褟 写芯 褕褨褋褌薪邪写褑褟褌芯谐芯 胁褨写写褨谢褟谢懈 褎邪褉斜褍胁邪谢褜薪懈泻褨胁, 褟泻褨 锌褉邪褑褞褞褌褜 褨蟹 褔械褉胁芯薪懈屑 褨 卸芯胁褌懈屑, 胁褨写 褌懈褏, 褟泻褨 锌褉邪褑褞褞褌褜 褨蟹 褋懈薪褨屑 褨 蟹械谢械薪懈屑, 鈥� 褑械 薪械 屑芯谐谢懈 斜褍褌懈 褌褨 褋邪屑褨 谢褞写懈. 褨 薪械褏邪泄 褑褨 褨褋褌芯褉褨褩 薪械 芯斜芯胁'褟蟹泻芯胁芯 褋泻谢邪写邪褞褌褜褋褟 胁 褑褨谢褨褋薪懈泄 薪邪褉邪褌懈胁, 褉芯蟹锌芯胁褨写邪褌懈 褩褏 锌邪褋褌褍褉芯 胁褋械-褌邪泻懈 写芯斜褉械 胁屑褨褦.
褏芯褔邪 锌邪褋褌褍褉芯 褋邪屑 锌懈褕械, 褖芯 写谢褟 褨褋褌芯褉懈泻邪 谐芯谢芯胁薪械 鈥� 锌芯褟褋薪懈褌懈, 蟹胁褨写泻懈 蟹薪械薪邪褑褜泻邪 斜械褉械褌褜褋褟 屑芯写邪 薪邪 褋懈薪褨泄, 胁褨薪 褉芯蟹锌芯胁褨写邪褦 斜褨谢褜褕械 锌褉芯 褋褌邪薪 褋锌褉邪胁, 邪薪褨卸 锌褉芯 褌械, 褟泻 褌邪泻 胁懈泄褕谢芯, 褌邪 泄 胁褨写锌芯胁褨写褜 薪邪 褑械 写褉褍谐械 蟹邪锌懈褌邪薪薪褟 蟹邪蟹胁懈褔邪泄 蟹胁褍褔懈褌褜 芦斜芯 谢褞写懈禄. 薪邪锌褉懈泻谢邪写, 写邪胁薪褨 褉懈屑谢褟薪懈 薪械 谢褞斜懈谢懈 褋懈薪褜芯谐芯, 斜芯 胁 褋懈薪褜芯屑褍 褏芯写懈谢懈 胁邪褉胁邪褉懈, 邪 褖械 泄芯谐芯 胁胁邪卸邪谢懈 褌褉邪褍褉薪懈屑. 邪 褉械褎芯褉屑邪褌芯褉懈, 薪邪胁锌邪泻懈, 胁锌芯写芯斜邪谢懈 褋懈薪褨泄, 斜芯 褋锌械褉褕褍 胁薪邪褋谢褨写芯泻 锌芯褕懈褉械薪薪褟 蟹邪泻芯薪褨胁 锌褉芯褌懈 褉芯蟹泻芯褕褨 (褨 写芯褋褟谐薪械薪褜 褎邪褉斜褍胁邪谢褜薪芯褩 锌褉芯屑懈褋谢芯胁芯褋褌褨) 薪邪斜褍胁 锌芯锌褍谢褟褉薪芯褋褌褨 褔芯褉薪懈泄, 邪 锌芯褌褨屑 褍卸械 褟泻芯褋褜 谢芯谐褨褔薪芯 褋褌邪胁褋褟 锌械褉械褏褨写 写芯 褌褉芯褕泻懈 褋胁褨褌谢褨褕芯谐芯 泻芯谢褜芯褉褍, 锌芯屑褨褉泻芯胁邪薪芯谐芯 泄 薪械斜械褋薪芯谐芯.
邪谢械 褋屑邪褔薪懈褏 写械褌邪谢械泄 褍 褑褨泄 泻薪懈卸褑褨 写褍卸械 斜邪谐邪褌芯. 锌褉芯 斜谢邪泻懈褌薪褨 芯褔褨 褟泻 蟹薪邪泻 卸褨薪芯褔芯褩 褉芯蟹锌褍褋薪芯褋褌褨 胁 邪薪褌懈褔薪芯屑褍 褋胁褨褌褨 (褖芯 芯褋芯斜谢懈胁芯 褑褨泻邪胁芯, 褟泻褖芯 胁褉邪褏褍胁邪褌懈, 褖芯 薪褨 谐褉械褑褜泻邪, 薪褨 谢邪褌懈薪褋褜泻邪 邪薪褌懈褔薪褨褋褌褜 薪械 屑邪谢邪 褋谢芯胁邪 写谢褟 胁懈褉邪蟹薪芯谐芯 芯锌懈褋褍 褋懈薪褜芯谐芯 泻芯谢褜芯褉褍 鈥� 锌褉懈泻屑械褌薪懈泻懈, 褟泻褨 写芯 薪褜芯谐芯 蟹邪褋褌芯褋芯胁褍胁邪谢懈, 斜褍谢懈 胁 薪邪泄泻褉邪褖芯屑褍 褉邪蟹褨 锌芯谢褨褋械屑邪薪褌懈褔薪褨). 锌褉芯 褋锌械泻褌褉, 褟泻懈泄 褨褖械 褌懈褋褟褔褍 褉芯泻褨胁 褌芯屑褍 褋锌褉懈泄屑邪谢懈 蟹芯胁褋褨屑 薪械 褌邪泻, 褟泻 褋褜芯谐芯写薪褨, 褨 胁 褟泻芯屑褍 褋懈薪褨泄 褨 卸芯胁褌懈泄 斜褍谢懈 褌邪泻褨 写邪谢械泻褨, 褖芯 薪褨褏褌芯 泄 薪械 蟹屑褨褕褍胁邪胁 褩褏, 褖芯斜 芯褌褉懈屑邪褌懈 蟹械谢械薪懈泄. 锌褉芯 蟹邪泻芯薪懈, 褟泻褨 褋褌芯谢褨褌褌褟 写芯 褕褨褋褌薪邪写褑褟褌芯谐芯 胁褨写写褨谢褟谢懈 褎邪褉斜褍胁邪谢褜薪懈泻褨胁, 褟泻褨 锌褉邪褑褞褞褌褜 褨蟹 褔械褉胁芯薪懈屑 褨 卸芯胁褌懈屑, 胁褨写 褌懈褏, 褟泻褨 锌褉邪褑褞褞褌褜 褨蟹 褋懈薪褨屑 褨 蟹械谢械薪懈屑, 鈥� 褑械 薪械 屑芯谐谢懈 斜褍褌懈 褌褨 褋邪屑褨 谢褞写懈. 褨 薪械褏邪泄 褑褨 褨褋褌芯褉褨褩 薪械 芯斜芯胁'褟蟹泻芯胁芯 褋泻谢邪写邪褞褌褜褋褟 胁 褑褨谢褨褋薪懈泄 薪邪褉邪褌懈胁, 褉芯蟹锌芯胁褨写邪褌懈 褩褏 锌邪褋褌褍褉芯 胁褋械-褌邪泻懈 写芯斜褉械 胁屑褨褦.
October 13, 2020
携 泄 薪械 写褍屑邪谢邪 褖芯 锌褉芯 泻芯谢褨褉 屑芯卸薪邪 薪邪锌懈褋邪褌懈 褑褨谢褍 泻薪懈谐褍, 褌邪 褖械 泄 褌邪泻褍, 褖芯 胁褨写褨褉胁邪褌懈褋褟 锌褉芯褋褌芯 薪械屑芯卸谢懈胁芯.
* 袆 褌械芯褉褨褟, 褖芯 写褉械胁薪褨 谐褉械泻懈 褨 褉懈屑谢褟薪懈 薪械 斜邪褔懈谢懈 褋懈薪褜芯谐芯 泻芯谢褜芯褉褍, 斜芯 锌褉芯 薪褜芯谐芯 蟹芯胁褋褨屑 薪褨写械 薪械 蟹谐邪写褍褦褌褜褋褟, 邪斜芯 卸 斜邪褔懈谢懈 泄芯谐芯 锌芯-褨薪褕芯屑褍
* 胁 写褉械胁薪褨褏 褌褉邪泻褌邪褌邪褏 胁胁邪卸邪谢懈, 褖芯 褍 胁械褋械谢褑褨 薪械屑邪褦 泄 薪邪褌褟泻褍 薪邪 褋懈薪褨泄 泻芯谢褨褉
* 褌邪泻 褋邪屑芯 褌邪屑 胁胁邪卸邪谢懈, 褖芯 泻芯谢褨褉 屑芯卸械 斜褍褌懈 邪斜芯 屑邪褌械褉褨邪谢褜薪懈屑, 邪斜芯 卸 褑械 锌褉芯褋褌芯 褋锌械泻褌褉 褋胁褨褌谢邪. 袙 写褉褍谐芯屑褍 胁懈锌邪写泻褍 鈥� 泻芯谢懈 谢褞写懈薪邪 锌械褉械褋褌邪褦 写懈胁懈褌懈褋褟 薪邪 泻芯谢褨褉, 胁褨薪 胁 褋胁芯褞 褔械褉谐褍 锌械褉械褋褌邪褦 褨褋薪褍胁邪褌懈
* 褋懈薪褨屑 泻芯谢褜芯褉芯屑 褎邪褉斜褍胁邪谢懈褋褟 胁邪褉胁邪褉懈, 褌芯屑褍 泻芯谢褨褉 斜褍胁 薪械锌芯锌褍谢褟褉薪懈泄 蟹褨 蟹褉芯蟹褍屑褨谢懈褏 锌褉懈褔懈薪. 孝邪泻 褋邪屑芯 斜谢邪泻懈褌薪褨 芯褔褨 褨 褉褍写械 胁芯谢芯褋褋褟 鈥� 薪邪泄谐懈写泻褨褕褨 褉懈褋懈 蟹芯胁薪褨褕薪芯褋褌褨.
* 褋懈薪褟胁邪 薪褨泻芯谢懈 薪械 邪褋芯褑褨褞胁邪谢邪褋褟 薪褨 蟹 薪械斜芯屑 薪褨 蟹 胁芯写芯褞. 袙芯写邪 斜褍谢邪 蟹械谢械薪邪, 邪 薪械斜芯 褋褨褉械, 卸芯胁褌械, 褉芯卸械胁械, 褌邪 褟泻械 蟹邪胁谐芯写薪芯 褌褨谢褜泻懈 薪械 褋懈薪褦.
* 胁邪泄写邪 褌邪 褨薪写懈谐芯 鈥� 写胁邪 褋懈薪褨褏 斜邪褉胁薪懈泻懈, 蟹邪锌械泻谢邪 胁褨泄薪邪 屑褨卸 褟泻懈屑懈 褌芯褔懈谢邪褋褟 邪卸 锌芯泻懈 薪械 褋懈薪褌械蟹褍胁邪谢懈 褕褌褍褔薪懈泄 褋懈薪褨泄 泻芯谢褨褉
* 笑械褉泻胁邪 褏芯褌褨谢邪 写懈褋泻褉械写懈褌褍胁邪褌懈 褋懈薪褨泄 泻芯谢褨褉, 褖芯斜 屑芯写邪 薪邪 薪褜芯谐芯 蟹薪懈泻谢邪. 袛谢褟 褑褜芯谐芯 锌械泻谢芯 蟹芯斜褉邪卸褍胁邪谢懈 胁 褋懈薪褨褏 泻芯谢褜芯褉邪褏
* 袚械褌械 褨 写芯 袚械褌械 胁胁邪卸邪谢懈 褋懈薪褨泄 褌械锌谢懈屑 泻芯谢褜芯褉芯屑
* 小懈薪褨泄 胁褨写褋褍褌薪褨泄 褍 褉械谢褨谐褨泄薪褨泄 褋懈屑胁芯谢褨褑褨, 邪卸 写芯泻懈 写褨胁褍 袦邪褉褨褞 锌芯褔懈薪邪褞褌褜 屑邪谢褞胁邪褌懈 胁 褋懈薪褜芯屑褍 芯写褟蟹褨. 袩芯褌褨屑 胁懈写邪褞褌褜 写械泻褉械褌 锌褉芯 薪械锌芯褉芯褔薪械 蟹邪褔邪褌褌褟 褨 泻芯谢褨褉 蟹屑褨薪褞褦褌褜褋褟 薪邪 斜褨谢懈泄 薪邪 蟹芯谢芯褌懈泄.
* 袟邪褉邪蟹 褋懈薪褨泄 薪邪泄褍谢褞斜谢械薪褨褕懈泄 泻芯谢褨褉 蟹邪 写邪薪懈屑懈 褋芯褑褨芯谢芯谐褨褔薪懈褏 芯锌懈褌褍胁邪薪褜 鈥� 薪械泄屑芯胁褨褉薪械 写芯褋褟谐薪械薪薪褟, 褟泻褖芯 锌褉懈锌褍褋褌懈褌懈 褖芯 胁 写褉械胁薪褨 褔邪褋懈 谢褞写懈 泄芯谐芯 锌褉芯褋褌芯 薪械 斜邪褔懈谢懈.
* 袆 褌械芯褉褨褟, 褖芯 写褉械胁薪褨 谐褉械泻懈 褨 褉懈屑谢褟薪懈 薪械 斜邪褔懈谢懈 褋懈薪褜芯谐芯 泻芯谢褜芯褉褍, 斜芯 锌褉芯 薪褜芯谐芯 蟹芯胁褋褨屑 薪褨写械 薪械 蟹谐邪写褍褦褌褜褋褟, 邪斜芯 卸 斜邪褔懈谢懈 泄芯谐芯 锌芯-褨薪褕芯屑褍
* 胁 写褉械胁薪褨褏 褌褉邪泻褌邪褌邪褏 胁胁邪卸邪谢懈, 褖芯 褍 胁械褋械谢褑褨 薪械屑邪褦 泄 薪邪褌褟泻褍 薪邪 褋懈薪褨泄 泻芯谢褨褉
* 褌邪泻 褋邪屑芯 褌邪屑 胁胁邪卸邪谢懈, 褖芯 泻芯谢褨褉 屑芯卸械 斜褍褌懈 邪斜芯 屑邪褌械褉褨邪谢褜薪懈屑, 邪斜芯 卸 褑械 锌褉芯褋褌芯 褋锌械泻褌褉 褋胁褨褌谢邪. 袙 写褉褍谐芯屑褍 胁懈锌邪写泻褍 鈥� 泻芯谢懈 谢褞写懈薪邪 锌械褉械褋褌邪褦 写懈胁懈褌懈褋褟 薪邪 泻芯谢褨褉, 胁褨薪 胁 褋胁芯褞 褔械褉谐褍 锌械褉械褋褌邪褦 褨褋薪褍胁邪褌懈
* 褋懈薪褨屑 泻芯谢褜芯褉芯屑 褎邪褉斜褍胁邪谢懈褋褟 胁邪褉胁邪褉懈, 褌芯屑褍 泻芯谢褨褉 斜褍胁 薪械锌芯锌褍谢褟褉薪懈泄 蟹褨 蟹褉芯蟹褍屑褨谢懈褏 锌褉懈褔懈薪. 孝邪泻 褋邪屑芯 斜谢邪泻懈褌薪褨 芯褔褨 褨 褉褍写械 胁芯谢芯褋褋褟 鈥� 薪邪泄谐懈写泻褨褕褨 褉懈褋懈 蟹芯胁薪褨褕薪芯褋褌褨.
* 褋懈薪褟胁邪 薪褨泻芯谢懈 薪械 邪褋芯褑褨褞胁邪谢邪褋褟 薪褨 蟹 薪械斜芯屑 薪褨 蟹 胁芯写芯褞. 袙芯写邪 斜褍谢邪 蟹械谢械薪邪, 邪 薪械斜芯 褋褨褉械, 卸芯胁褌械, 褉芯卸械胁械, 褌邪 褟泻械 蟹邪胁谐芯写薪芯 褌褨谢褜泻懈 薪械 褋懈薪褦.
* 胁邪泄写邪 褌邪 褨薪写懈谐芯 鈥� 写胁邪 褋懈薪褨褏 斜邪褉胁薪懈泻懈, 蟹邪锌械泻谢邪 胁褨泄薪邪 屑褨卸 褟泻懈屑懈 褌芯褔懈谢邪褋褟 邪卸 锌芯泻懈 薪械 褋懈薪褌械蟹褍胁邪谢懈 褕褌褍褔薪懈泄 褋懈薪褨泄 泻芯谢褨褉
* 笑械褉泻胁邪 褏芯褌褨谢邪 写懈褋泻褉械写懈褌褍胁邪褌懈 褋懈薪褨泄 泻芯谢褨褉, 褖芯斜 屑芯写邪 薪邪 薪褜芯谐芯 蟹薪懈泻谢邪. 袛谢褟 褑褜芯谐芯 锌械泻谢芯 蟹芯斜褉邪卸褍胁邪谢懈 胁 褋懈薪褨褏 泻芯谢褜芯褉邪褏
* 袚械褌械 褨 写芯 袚械褌械 胁胁邪卸邪谢懈 褋懈薪褨泄 褌械锌谢懈屑 泻芯谢褜芯褉芯屑
* 小懈薪褨泄 胁褨写褋褍褌薪褨泄 褍 褉械谢褨谐褨泄薪褨泄 褋懈屑胁芯谢褨褑褨, 邪卸 写芯泻懈 写褨胁褍 袦邪褉褨褞 锌芯褔懈薪邪褞褌褜 屑邪谢褞胁邪褌懈 胁 褋懈薪褜芯屑褍 芯写褟蟹褨. 袩芯褌褨屑 胁懈写邪褞褌褜 写械泻褉械褌 锌褉芯 薪械锌芯褉芯褔薪械 蟹邪褔邪褌褌褟 褨 泻芯谢褨褉 蟹屑褨薪褞褦褌褜褋褟 薪邪 斜褨谢懈泄 薪邪 蟹芯谢芯褌懈泄.
* 袟邪褉邪蟹 褋懈薪褨泄 薪邪泄褍谢褞斜谢械薪褨褕懈泄 泻芯谢褨褉 蟹邪 写邪薪懈屑懈 褋芯褑褨芯谢芯谐褨褔薪懈褏 芯锌懈褌褍胁邪薪褜 鈥� 薪械泄屑芯胁褨褉薪械 写芯褋褟谐薪械薪薪褟, 褟泻褖芯 锌褉懈锌褍褋褌懈褌懈 褖芯 胁 写褉械胁薪褨 褔邪褋懈 谢褞写懈 泄芯谐芯 锌褉芯褋褌芯 薪械 斜邪褔懈谢懈.
February 28, 2008
fascinating; did you know Europeans never wore blue until the Middle Ages or later? not for everyone; it's a specialized subject. I think you have to like history and/or art. Lavishly illustrated.
April 18, 2013
Who would have thought that the color blue was not only hated but not named, or tolerated until the 14th century. Prior to that time it was thought to be a "hot" color. Now it is considered to be a "cool" color. It was culturally and socially unacceptable to wear blue. Today, most people prefer blue to any other color. Our culture accepts it primarily due to the unversal acceptance of blue jeans beginning with Levi Strauss in the 1850s. Red, white and black were the only recognized colors for centuries. The Indigo dye for a deep, rich, vibrant blue was too expensive to ship from the middle east. Only when artists painted the Virgin did blue become more and more acceptable over time. The book is full of exquisite color pictures and historical descriptions. The price of this book at the local book store is $270 which indicates how well thought out and laid out this book was published. It is a fascinating and entertaining story about a simple color and the cultures and societies that impacted it throughout Western history.
April 17, 2021
Michel Pastoureau鈥檇an okudu臒um ikinci kitap Mavi. Daha 枚nce 鈥淪iyah:Bir Rengin Tarihi鈥漬i okumu艧tum. 鈥淢avi鈥漼i daha 枚nce yazm谋艧, bu nedenle biraz daha cans谋z bir okuma yaratan bir kitap. 鈥淪iyah鈥漷aki ak谋c谋l谋k, standartizasyon 鈥淢avi鈥漝e yok. Buna ra臒men Mavi rengin tarihsel ser眉venini, sanat, edebiyat ve siyasetteki kar艧谋l谋臒谋n谋, giyim-ku艧am ve dinsel alandaki kullan谋mlar谋n谋 莽ok geni艧莽e irdeleyen bir 莽al谋艧ma.
Michel Pastoureau, Mavi鈥檔in en sevilen renk olmas谋 ile di臒er renklerden farkl谋 bir simgeselli臒e sahip oldu臒unu vurguluyor. Giyimde BlueJeans, m眉zikte Blues ile mavinin toplumsal yayg谋nl谋臒谋n谋 ve yerini anlat谋yor, yans谋z bir renk olarak 20. y眉zy谋l谋 tamamen kapsad谋臒谋n谋 ve 21. y眉zy谋la ta艧谋nd谋臒谋n谋 belirtiyor.
Antik 脟a臒lar鈥檇an Orta莽a臒鈥檃 kadar mavinin ad谋n谋n bile ge莽medi臒ini ilk kez 14. y眉zy谋lda kay谋tlarda g枚r眉ld眉臒眉n眉 vurgulayan yazar g眉n眉m眉zde mavinin 枚zg眉rl眉k ve mutlulukla e艧anlaml谋 oldu臒unu vurguluyor. 脟ok iyi bir bilgi kayna臒谋, keyifle okunuyor.
December 14, 2015
Lovely overview of the emergence of blue as an important color in medieval Europe an of its changes of connotations up to the modern period, when blue constitutes the most neutral color.
April 5, 2017
Blue was a color the Romans associated with barbarism. It is rarely found in bronze age art. Many medieval artists preferred to depict water as green rather than blue. Why? How, when it was so rare throughout history, did blue come to be the most common color in the world today? How-- and why-- did various laws try to prohibit the creation of certain colors? Why did the color blue become associated with the Virgin? These are the questions that M. Pastoureau answers in this sumptuously illustrated history.
January 1, 2021
芦袧邪 褋褌褉邪薪懈褑邪褏 薪邪褋褌芯褟褖械泄 泻薪懈谐懈 薪械 褏胁邪褌懈谢芯 屑械褋褌邪 写谢褟 芯斜褋褌芯褟褌械谢褜薪芯谐芯 褉邪蟹谐芯胁芯褉邪 薪邪 褝褌褍 褌械屑褍, 芯写薪邪泻芯 写邪薪薪褘泄 邪褋锌械泻褌 褋懈屑胁芯谢懈泻懈 褋懈薪械谐芯 褑胁械褌邪 褔褉械蟹胁褘褔邪泄薪芯 胁邪卸械薪禄. 携 褔褌芯-褌芯 褍锌褍褋褌懈谢邪, 懈谢懈 袩邪褋褌褍褉芯 蟹邪泻芯薪芯写邪褌械谢褜薪芯 蟹邪锌褉械褌懈谢懈 锌懈褋邪褌褜 泻薪懈谐懈 写谢懈薪薪械械 150 褋褌褉邪薪懈褑? 袩芯谢褍褔懈谢芯褋褜 斜械谐谢芯 懈, 薪邪 屑芯泄 胁蟹谐谢褟写, 薪械斜褉械卸薪芯, 褏芯褌褜 懈 胁懈写薪芯, 褔褌芯 懈褋褋谢械写芯胁邪褌械谢褜褋泻懈泄 屑邪褌械褉懈邪谢 褏芯褉芯褕懈泄.
November 18, 2021
En su presentaci贸n, este es un libro de arte; en la pr谩ctica, una genialidad de historia cultural. Como parte de la colecci贸n del estudio hist贸rico-cultural de los colores, Pastoureau presenta el color azul como un matiz extra帽o y de fascinante evoluci贸n. El an谩lisis es cronol贸gico y extremadamente euroc茅ntrico (hasta el punto de que incluso los Estados Unidos quedan en buena parte excluidos), pero para las pocas p谩ginas con las que trabaja, es exhaustivo en sus ejemplos y el viaje hist贸rico se siente muy fluido.
La obra se discute alrededor de una triada de perspectivas en las que se adentra subjetivamente: por una parte, el estudio f铆sico del color, luchando contra la pseudociencia del s.XIX para explicar percepci贸n a trav茅s de la raza o contra la magnanimidad de las teor铆as newtonianas para explicar los colores s贸lo a trav茅s de la ciencia; en segundo lugar, el estudio t茅cnico del color, su creaci贸n, incluyendo informaci贸n detallada sobre las materias usadas, la geopol铆tica de los materiales y la coloraci贸n de vestimenta y pintura; finalmente, el estudio cultural del color, la importancia de la percepci贸n social y la adecuaci贸n a modas, dogmas culturales y cambios pol铆ticos en su uso. Aun as铆, la gran estrella es claramente la percepci贸n y las motivaciones en el 谩mbito social lo que arrastra el estudio. Es por ello quiz谩 que la pregunta sobre el "color favorito" aparece tan recurrentemente, aunque sin duda da pie a problematizar este elemento.
La obra no est谩 libre de problemas y es que en ocasiones no sabes si est谩s frente a un libro para amantes del color, estudiantes de arte o investigadores sociales. En numerosas ocasiones, el mismo debate se extiende sin devolver ninguna novedad, con lo que hace dif铆cil seguir el hilo al no haber inter茅s en extender lo ya presentado. Sin embargo, el amplio conocimiento del autor sobre el tema y la importante perspectiva que propone para el estudio hist贸rico de los colores es una delicia para los interesados en este nicho de estudio.
July 5, 2018
Excelente y ameno! La historia del color azul... desde la antig眉edad hasta nuestros d铆as; del pastel al 铆ndigo; ...
Si en la Grecia y la Roma cl谩sica era considerado un color desagradable, en nuestra 茅poca, en cambio, el azul es el color que prefiere la mayor parte de los europeos. Siendo tambi茅n un color que se emplea en los s铆mbolos de diversas organizaciones internacionales, como, por ejemplo, la ONU, la UNESCO y la UE.
Si en la Grecia y la Roma cl谩sica era considerado un color desagradable, en nuestra 茅poca, en cambio, el azul es el color que prefiere la mayor parte de los europeos. Siendo tambi茅n un color que se emplea en los s铆mbolos de diversas organizaciones internacionales, como, por ejemplo, la ONU, la UNESCO y la UE.
August 11, 2016
olay biraz da do臒u medeniyetlerinden al谋nt谋larla anlat谋labilirdi. 莽ok bat谋 odakl谋 olmu艧, s谋n谋rl谋 bak谋艧 a莽谋s谋
September 19, 2018
"Prendiamo l鈥檈sempio di Vermeer, a mio avviso il pi霉 grande pittore del secolo. I suoi pigmenti sono quelli della sua epoca. Per i blu, spesso molto vivaci, usa ancora e sempre il lapislazzuli. Ma siccome questo pigmento costa molto caro, lo riserva al lavoro di superficie; sotto, l鈥檃bbozzo 猫 realizzato con azzurrite o smalto (in particolare per i cieli), talvolta, ma pi霉 di rado, con l鈥檌ndaco.Per i gialli, oltre alle tradizionali terre ocra, di cui ci si serve dall鈥檃ntichit脿, impiega gialli di stagno e, con una certa parsimonia, il nuovo 芦giallo di Napoli禄 (che 猫 un antimoniato di piombo); gli italiani lo usano prima dei pittori del nord e in maniera pi霉 sciolta. Per i verdi, pochi verdi di rame, instabili e corrosivi, ma molte terre verdi, in Vermeer come in tutti i pittori del XVII secolo. A quest鈥檈poca, infatti, 猫 ancora relativamente raro che si mescolino pigmenti gialli e pigmenti blu per ottenere del verde. Lo si fa, naturalmente, ma 猫 soprattutto nel secolo seguente 鈥� con gran rammarico di certi artisti 鈥� che questa pratica si generalizzer脿. Infine, per i rossi si impiegano il vermiglio, il minio (in piccola quantit脿), la lacca di cocciniglia o di garanza, il legno del Brasile (anche per i rosa e gli arancione) e le terre rosso-ocra di tutte le sfumature. Nulla di molto originale, dunque, nella tavolozza vermeeriana, come hanno rivelato le analisi di laboratorio. Ma non appena si lascia la tavolozza pigmentaria per concentrarsi sulla tavolozza visiva, Vermeer non somiglia pi霉 tanto ai suoi contemporanei. In lui il colorito 猫 pi霉 armonioso, pi霉 vellutato, pi霉 raffinato. Ci貌 猫 evidentemente dovuto a un incomparabile lavoro sulla luce, sulle zone chiare e sulle zone di penombra, ma anche a un tocco e a una finitura particolari. Gli storici della pittura hanno detto tutto, o quasi, su questo aspetto del suo genio. Pochi di loro, in compenso, hanno parlato veramente dei colori in s茅. Manca lo spazio per farlo qui dettagliatamente, ma bisognerebbe in primo luogo sottolineare il ruolo dei grigi, in particolare dei grigi chiari. 脠 spesso su di essi che poggia tutta l鈥檈conomia cromatica del quadro. Bisognerebbe poi insistere sulla qualit脿 dei blu. Vermeer 猫 un pittore del blu (e anche del blu e bianco, tanto questi due colori funzionano in lui in associazione). 脠 soprattutto questo lavoro sui blu che, cromaticamente, lo distingue dagli altri pittori olandesi del XVII secolo. Quali che siano il loro talento e le loro qualit脿, essi non sanno approfittare cos矛 sottilmente dei blu. Infine, in Vermeer bisognerebbe ricordare 鈥� come fa Marcel Proust 鈥� l鈥檌mportanza delle piccole zone gialle, certe pi霉 o meno rosate (come il celeberrimo 芦pezzetto di muro giallo禄 della veduta di Delft) e altre pi霉 acide. Su questi gialli, questi bianchi e questi blu poggia una gran parte della musica vermeeriana, quella che ci incanta e che ne fa un pittore cos矛 diverso dagli altri, non solo il pi霉 grande del suo secolo, ma forse anche il pi霉 grande di tutti i tempi."
"Tutto cambi貌 nella prima met脿 del XVIII secolo. Nel 1709, infatti, fu messo a punto a Berlino un colore artificiale che permise, nella gamma dei blu e dei verdi, prodezze di cui si era stati incapaci per secoli: il blu di Prussia. A dire il vero, questo colore fu scoperto per caso. Un certo Diesbach, droghiere e fabbricante di colori, vendeva un bellissimo rosso che otteneva facendo precipitare con della potassa una decozione di cocciniglia addizionata con solfato di ferro. Un giorno, mancando di potassa, si riforn矛 da uno speziale poco onesto, Johann Konrad Dippel. Costui gli vendette del carbonato di potassa adulterato di cui si era gi脿 servito personalmente per rettificare un olio animale di sua invenzione. Invece del suo solito rosso, Diesbach ottenne un magnifico precipitato blu. Non cap矛 cosa fosse successo, ma Dippel, chimico e uomo d鈥檃ffari ben pi霉 accorto, intu矛 rapidamente tutto il vantaggio che poteva trarre da tale scoperta. Aveva capito che era stata l鈥檃zione della potassa alterata sul solfato di ferro a produrre quello splendido colore blu. Dopo parecchi esperimenti, miglior貌 il procedimento e commercializz貌 il nuovo colore sotto il nome di 芦blu di Berlino禄.Per pi霉 di un decennio Dippel rifiut貌 di svelare il suo segreto di fabbricazione, cosa che gli permise di accumulare una fortuna considerevole. Ma nel 1724 il chimico inglese Woodward scopr矛 il segreto e rese pubblica la composizione del nuovo colore. Il blu di Berlino, divenuto nel frattempo 芦blu di Prussia禄, pot茅 quindi essere fabbricato in tutta Europa. Rovinato, Dippel lasci貌 Berlino per la Scandinavia, dove divenne medico del re di Svezia Federico I. Pi霉 inventivo che mai, mise a punto parecchie medicine pericolose che gli valsero l鈥檈spulsione dalla Svezia e la prigione in Danimarca. Mor矛 nel 1734, ed 猫 ricordato come un chimico abile ma poco scrupoloso, intrigante e avido. Quanto a Diesbach, personaggio di cui non sappiamo niente, nemmeno il nome di battesimo, scomparve poco tempo dopo la sua fortuita scoperta, che trasform貌 la tavolozza dei pittori per circa due secoli. Contrariamente a una leggenda dura a morire 鈥� forse legata alla cattiva fama di Dippel 鈥� il blu di Prussia non 猫 tossico e non si trasforma in acido prussico (o cianidrico). In compenso, 猫 poco stabile alla luce e gli alcali lo distruggono (il che ne vieta l鈥檌mpiego in certe pitture). Ma il suo potere colorante 猫 molto elevato e, mescolato ad altri colori, produce toni stupendi e trasparenti. Le arti decorative della fine del XVIII secolo e dell鈥檌nizio del XIX lo hanno perci貌 utilizzato su vasta scala per fabbricare tappezzerie verdi. In seguito, i pittori impressionisti e tutti gli artisti che dipingevano en pleine air gli hanno riservato una sorta di culto, malgrado il suo carattere instabile e invadente."
"Tutto cambi貌 nella prima met脿 del XVIII secolo. Nel 1709, infatti, fu messo a punto a Berlino un colore artificiale che permise, nella gamma dei blu e dei verdi, prodezze di cui si era stati incapaci per secoli: il blu di Prussia. A dire il vero, questo colore fu scoperto per caso. Un certo Diesbach, droghiere e fabbricante di colori, vendeva un bellissimo rosso che otteneva facendo precipitare con della potassa una decozione di cocciniglia addizionata con solfato di ferro. Un giorno, mancando di potassa, si riforn矛 da uno speziale poco onesto, Johann Konrad Dippel. Costui gli vendette del carbonato di potassa adulterato di cui si era gi脿 servito personalmente per rettificare un olio animale di sua invenzione. Invece del suo solito rosso, Diesbach ottenne un magnifico precipitato blu. Non cap矛 cosa fosse successo, ma Dippel, chimico e uomo d鈥檃ffari ben pi霉 accorto, intu矛 rapidamente tutto il vantaggio che poteva trarre da tale scoperta. Aveva capito che era stata l鈥檃zione della potassa alterata sul solfato di ferro a produrre quello splendido colore blu. Dopo parecchi esperimenti, miglior貌 il procedimento e commercializz貌 il nuovo colore sotto il nome di 芦blu di Berlino禄.Per pi霉 di un decennio Dippel rifiut貌 di svelare il suo segreto di fabbricazione, cosa che gli permise di accumulare una fortuna considerevole. Ma nel 1724 il chimico inglese Woodward scopr矛 il segreto e rese pubblica la composizione del nuovo colore. Il blu di Berlino, divenuto nel frattempo 芦blu di Prussia禄, pot茅 quindi essere fabbricato in tutta Europa. Rovinato, Dippel lasci貌 Berlino per la Scandinavia, dove divenne medico del re di Svezia Federico I. Pi霉 inventivo che mai, mise a punto parecchie medicine pericolose che gli valsero l鈥檈spulsione dalla Svezia e la prigione in Danimarca. Mor矛 nel 1734, ed 猫 ricordato come un chimico abile ma poco scrupoloso, intrigante e avido. Quanto a Diesbach, personaggio di cui non sappiamo niente, nemmeno il nome di battesimo, scomparve poco tempo dopo la sua fortuita scoperta, che trasform貌 la tavolozza dei pittori per circa due secoli. Contrariamente a una leggenda dura a morire 鈥� forse legata alla cattiva fama di Dippel 鈥� il blu di Prussia non 猫 tossico e non si trasforma in acido prussico (o cianidrico). In compenso, 猫 poco stabile alla luce e gli alcali lo distruggono (il che ne vieta l鈥檌mpiego in certe pitture). Ma il suo potere colorante 猫 molto elevato e, mescolato ad altri colori, produce toni stupendi e trasparenti. Le arti decorative della fine del XVIII secolo e dell鈥檌nizio del XIX lo hanno perci貌 utilizzato su vasta scala per fabbricare tappezzerie verdi. In seguito, i pittori impressionisti e tutti gli artisti che dipingevano en pleine air gli hanno riservato una sorta di culto, malgrado il suo carattere instabile e invadente."
January 30, 2025
袚邪褉薪芯 芯褎芯褉屑谢械薪邪 泻薪懈谐邪, 褟泻邪 锌芯褟褋薪褞褦 褌邪 褨谢褞褋褌褉褍褦 褨褋褌芯褉褨褞 褋懈薪褜芯谐芯 泻芯谢褜芯褉褍 胁褨写 薪械锌芯屑褨褌薪芯褋褌褨 胁 邪薪褌懈褔薪褍 写芯斜褍 写芯 蟹褉芯褋褌邪薪薪褟 泄芯谐芯 胁锌谢懈胁褍 胁 啸袉袉-啸VII 褋褌芯谢褨褌褌褨 (泻芯谢褨褉 袛褨胁懈 袦邪褉褨褩, 谐械褉斜褨胁, 胁懈泻芯褉懈褋褌邪薪薪褟 泻芯褉芯谢褟屑懈, 泻芯谢褨褉 写芯斜褉芯褔械褋薪芯褋褌褨) 褌邪 蟹邪胁芯褞胁邪薪薪褟 褋褌邪褌褍褋褍 薪邪泄锌芯锌褍谢褟褉薪褨褕芯谐芯 胁褨写 啸VIII 写芯 褋褜芯谐芯写械薪薪褟 (褉芯屑邪薪褌懈褔薪懈泄 褋懈薪褨泄: 胁褨写 褎褉邪泻邪 袙械褉褌械褉邪 写芯 斜谢褞蟹芯胁懈褏 褉懈褌屑褨胁; 泻芯谢褨褉 屑懈褉褍, 褌邪 泻芯谢褨褉, 褟泻懈泄 薪芯褋褟褌褜 薪邪泄褔邪褋褌褨褕械: 胁褨写 胁褨泄褋褜泻芯胁芯褩 褎芯褉屑懈 写芯 写卸懈薪褋褨胁)
December 4, 2021
啸芯褉芯褕芯, 薪芯 屑邪谢芯, 褏芯褌械谢芯褋褜 斜褘 锌芯斜芯谢褜褕械 屑邪褌械褉懈邪谢邪.
August 13, 2009
The author begins this history with audacious claims about the irrelevance (p.10) of human biology to the "process of ascribing meaning to color", insisting instead that color is a "social phenomenon". The author does a fine job illustrating the second claim throughout the book, showing how attitudes towards colors change over time with changes in religious belief and social practices. But the first, audacious claim has to be false. There is ample evidence that the structure of color perception is dependent on the fact that humans are trichromats, and that facts about color opposition (red is opposed to green, blue to yellow) are due to the role of opponent-processes in the human visual system. And biological facts, like genetic color deficiencies, surely affect the "meaning" of colors for those with the deficiencies.
There are other weird gaps in the book's scholarship as well. There are brief discussions of opinion polls that try to determine what our "favorite color" is, but there is no discussion of Komar and Melamed's famous "Most Wanted" survey of world aesthetic tastes, which concluded that blue was the favorite color of majorities in most countries.
The book offers evidence that black, white and red were the primary color categories of the ancient world, with blue not figuring in treatises on color, even when describing the colors of the rainbow. That interestingly confirms the famous claims by anthropologists Berlin & Kay (and Kay & McDaniel) that there is a specific pattern to the development of color vocabulary whereby "blue" is always a later basic color term than "black", "white" and "red". But there is no mention of Kay & Berlin's work in relation to the interesting historical fact about ancient color terms.
There is also a near-total focus on European, and in the post-medieval period, French, attitudes and practices with regard to color (the author is French). During an extended discussion of the significance of different colors during the French Revolution, and in particular the tricolor, the author says:
"It is easy to imagine that if the British flag had not been red, white, and blue, that of the American Revolution would not have been either, and therefore neither the French Revolution, nor the Empire or Republic that followed, would have used these colors. To understand the American and French flags, then, WE MUST GO BACK TO THE ORIGINS OF THE BRITISH FLAG, which was already red, white, and blue in the early seventeenth century..." (p.148).
But then the author only spends TWO sentences explaining the origins of the British flag, before returning to an extended discussion of the color of cockades in the French Revolution. I thought the British flag was important, because the author just told me it was!
There are other weird gaps in the book's scholarship as well. There are brief discussions of opinion polls that try to determine what our "favorite color" is, but there is no discussion of Komar and Melamed's famous "Most Wanted" survey of world aesthetic tastes, which concluded that blue was the favorite color of majorities in most countries.
The book offers evidence that black, white and red were the primary color categories of the ancient world, with blue not figuring in treatises on color, even when describing the colors of the rainbow. That interestingly confirms the famous claims by anthropologists Berlin & Kay (and Kay & McDaniel) that there is a specific pattern to the development of color vocabulary whereby "blue" is always a later basic color term than "black", "white" and "red". But there is no mention of Kay & Berlin's work in relation to the interesting historical fact about ancient color terms.
There is also a near-total focus on European, and in the post-medieval period, French, attitudes and practices with regard to color (the author is French). During an extended discussion of the significance of different colors during the French Revolution, and in particular the tricolor, the author says:
"It is easy to imagine that if the British flag had not been red, white, and blue, that of the American Revolution would not have been either, and therefore neither the French Revolution, nor the Empire or Republic that followed, would have used these colors. To understand the American and French flags, then, WE MUST GO BACK TO THE ORIGINS OF THE BRITISH FLAG, which was already red, white, and blue in the early seventeenth century..." (p.148).
But then the author only spends TWO sentences explaining the origins of the British flag, before returning to an extended discussion of the color of cockades in the French Revolution. I thought the British flag was important, because the author just told me it was!
August 6, 2014
Heyecanl谋 ve ilgin莽 ba艧layan, ortalar谋nda biraz s谋k谋c谋 sularda y眉zen, sonlara do臒ru yine ba艧taki temposunu yakalayan bir okuma.
Mavi'yi neredeyse g枚rmedi臒i d眉艧眉n眉len Romal谋lar ve Antik Yunanl谋lar'dan blue jean'e, Frans谋z bayra臒谋na, dini motiflerden g枚k ku艧a臒谋na, modaya, resim sanat谋na, edebiyata, h眉zne (still got the blues!) ve de臒i艧en toplumsal yarg谋lara dair bilgilendirici, d眉艧眉nd眉r眉c眉 ve e臒lendirici bir 莽al谋艧ma.
Mavi'yi neredeyse g枚rmedi臒i d眉艧眉n眉len Romal谋lar ve Antik Yunanl谋lar'dan blue jean'e, Frans谋z bayra臒谋na, dini motiflerden g枚k ku艧a臒谋na, modaya, resim sanat谋na, edebiyata, h眉zne (still got the blues!) ve de臒i艧en toplumsal yarg谋lara dair bilgilendirici, d眉艧眉nd眉r眉c眉 ve e臒lendirici bir 莽al谋艧ma.
March 8, 2021
袥械谐泻邪, 锌褨蟹薪邪胁邪谢褜薪邪 泻薪懈谐邪 锌褉芯 褎械薪芯屑械薪 褋懈薪褜芯谐芯 泻芯谢褜芯褉褍. 笑褨泻邪胁芯 芯锌懈褋邪薪邪 械胁芯谢褞褑褨褟 褉芯蟹褍屑褨薪薪褟 褌邪 褨褦褉邪褉褏褨褩 泻芯谢褜芯褉褍, 褌邪泻芯卸 褋锌芯写芯斜邪谢芯褋褜 锌褉芯 褌械褏薪芯谢芯谐褨褩 褎邪褉斜褍胁邪薪薪褟, 胁褨泄薪懈 泻芯薪泻褍褉械薪褌褨胁, 褖芯 胁懈泻芯褉懈褋褌芯胁褍胁邪谢懈 胁邪泄写褍 褔懈 褨薪写褨谐芯, 邪 褌邪泻芯卸 "褔械褉胁芯薪懈泄" 褌邪 "褋懈薪褨泄" 褎褍薪写邪屑械薪褌 斜邪谐邪褌褜芯褏 褌褍褉懈褋褌懈褔薪懈褏 "屑械泻泻" 袟邪褏褨写薪芯褩 袆胁褉芯锌懈. 袗谢械 屑械薪褨 蟹邪斜褉邪泻谢芯 谐谢懈斜懈薪懈 褌邪 写械褌邪谢械泄 褍 写芯褋谢褨写卸械薪薪褨, 锌谢褞褋 蟹邪胁邪卸邪谢邪 褟褋泻褉邪胁芯 胁懈褉邪卸械薪邪 蟹邪褏褨写薪芯-褦胁褉芯锌芯褑械薪褌褉懈褔薪褨褋褌褜. 啸芯褉芯褕邪 泻薪懈谐邪 写谢褟 褉芯蟹褕懈褉械薪薪褟 泻褉褍谐芯蟹芯褉褍. 袩褉懈褦屑薪懈褏 胁褉邪卸械薪褜!
January 16, 2025
袩芯褔邪谢邪 褉褨泻 蟹 褌芯褌邪谢褜薪芯谐芯 蟹邪写芯胁芯谢械薪薪褟 胁褨写 褨薪褌械谢械泻褌褍邪谢褜薪芯褩 褋褌懈屑褍谢褟褑褨褩, 褟泻褍 薪邪写邪褦 褋胁芯褩屑 褌械泻褋褌芯屑 袦褨褕械谢褜 袩邪褋褌褍褉芯. 袧邪写蟹胁懈褔邪泄薪芯 褌褨褕褍褋褜, 褖芯 蟹始褟胁懈胁褋褟 薪邪褉械褕褌褨 褍泻褉邪褩薪褋褜泻懈泄 锌械褉械泻谢邪写 泄芯谐芯 写芯褋谢褨写卸械薪褜 泻芯谢褜芯褉褍. 小懈薪褨泄 - 褌芯泄 泻芯谢褨褉, 锌褉芯 褟泻懈泄 褟 薪邪泄屑械薪褕械 蟹薪邪褞, 芯泻褉褨屑 (褔邪褋褌芯 芯褔械胁懈写薪芯褩) 蟹邪谐邪谢褜薪芯褩 褨薪褎芯褉屑邪褑褨褩 锌褉芯 泄芯谐芯 褋懈屑胁芯谢褨褔薪褍 褉芯谢褜 褍 锌芯谢褨褌懈褑褨 褌邪 锌芯谢褨褌懈褔薪懈褏 锌邪褉褌褨褟褏. 笑械 写芯褋谢褨写卸械薪薪褟 写邪谢芯 谐谢懈斜褕械 褉芯蟹褍屑褨薪薪褟 锌褉芯 胁懈褌芯泻懈 褌邪 械胁芯谢褞褑褨褞 褋锌褉懈泄薪褟褌褌褟 褋懈薪褜芯谐芯, 锌褉芯 胁锌谢懈胁 械泻芯薪芯屑褨泻懈 泄 褌芯褉谐褨胁谢褨 薪邪 锌芯褕懈褉械薪薪褟 泻芯谢褜芯褉褍, 泄芯谐芯 锌褉芯褌懈褋褌邪胁谢械薪薪褟 斜褨谢褜褕 芦褉芯蟹泻褨褕薪芯屑褍禄 褔械褉胁芯薪芯屑褍 褌邪 褨薪褕褨 褔邪褋褌芯 薪械芯褔械胁懈写薪褨 写械褌邪谢褨 蟹 褨褋褌芯褉褨褩 泻芯谢褜芯褉褍. 袟 薪械褌械褉锌褨薪薪褟屑 褔械泻邪褞 胁褨写 芦袥邪斜芯褉邪褌芯褉褨褩禄 胁懈写邪薪薪褟 褉械褕褌懈 写芯褋谢褨写卸械薪褜 锌邪薪邪 袩邪褋褌褍褉芯 锌褉芯 泻芯谢褜芯褉懈. 馃
May 28, 2012
Accurata e stimolante analisi della percezione, dell鈥檜so, della fortuna dei colori in Europa, dall鈥檈poca dei romani alla seconda met脿 del Novecento. Il protagonista 猫 il blu, ma dato che questo colore ha dovuto 鈥渇arsi spazio鈥�, a partire dal XII secolo, nell鈥檃mbito di un sistema culturale dominato dalla triade bianco, nero, rosso e in cui non gli era accordata grande importanza, la riflessione dell鈥檃utore prende necessariamente in considerazione anche gli altri colori, i loro significati sociali, il loro uso nell鈥檃bbigliamento, la loro diffusione.
Strabiliante nel metodo di Pastoureau 猫 la capacit脿 dello storico di passare dallo studio dei metodi di tintura alle dispute teologiche sulla luce, dall鈥檃nalisi della moda alla fortuna dei colori nella pittura e cos矛 via, senza mai inseguire conclusioni assolute e anacronistiche: non si trover脿 in questo libro una simbologia dei colori valida per ogni popolo e ogni tempo, perch茅 il colore 猫 un鈥檈ntit脿 sociale, culturale, storica.
Affascina, anzi, il contrasto fra il dato fisico immutabile nel tempo (per esempio, l鈥檃rcobaleno che si stendeva nei cieli dell鈥檃nno Mille era ovviamente frutto dello stesso fenomeno fisico che lo genera oggi) e la variet脿 della percezione (e nominazione) di questo dato (in tempi diversi colori diversi sono stati visti, individuati, nominati nell鈥檃rcobaleno).
Notevole anche la capacit脿 dell鈥檃utore di isolare avvenimenti e situazioni particolarmente significative ai fini della sua argomentazione e insieme affascinanti quali storie che ci svelano altri mondi: dai tintori di panni rossi che nel XIII secolo chiedono ai maestri vetrai di rappresentare i diavoli in blu sulle vetrate delle chiese per screditare la moda del nuovo colore, alle ridipinture subite da una statua della Madonna a Liegi: nera nell鈥檃nno Mille, blu nel XIII secolo, dorata alla fine del XVII e infine bianca nello scorcio dell鈥橭ttocento, in ossequio ai mutevoli orientamenti della riflessione teologica mariana. 芦Questa sovrapposizione di quattro colori successivi in un millennio di storia fa di questa fragile scultura un oggetto vivo, oltre che un eccezionale documento di storia pittorica e simbolica禄. Ci sarebbero poi da citare i contrasti fra i teologi come l鈥檃bate Suger, che esaltano il colore quale rappresentazione della luce divina e mezzo per rendere lode a Dio, e quelli come san Bernardo di Chiaravalle, che lo condannano in quanto materia, involucro, belletto, vanitas; il fatto che l鈥檌ride, lo spettro dei colori, per noi forma obbligata della loro rappresentazione, fosse del tutto estranea alla sensibilit脿 medievale e si affermi come sapere comune e forma comune della percezione soltanto dopo gli studi di Newton; la nascita in Francia della simbologia politica del blu e del rosso durante la Rivoluzione ecc.
Il volume ci introduce in mondi lontani dal nostro, dominati da sensibilit脿 diverse, mutevoli, in contrasto fra loro, e conduce a una pi霉 ampia esperienza dell鈥檈ssere umano.
Del medesimo autore segnalo Medioevo simbolico:
dove 猫 presente una sezione dedicata alla storia culturale dei colori, e
Nero. Storia di un colore:
鈥渧olume gemello鈥� di questo.
Strabiliante nel metodo di Pastoureau 猫 la capacit脿 dello storico di passare dallo studio dei metodi di tintura alle dispute teologiche sulla luce, dall鈥檃nalisi della moda alla fortuna dei colori nella pittura e cos矛 via, senza mai inseguire conclusioni assolute e anacronistiche: non si trover脿 in questo libro una simbologia dei colori valida per ogni popolo e ogni tempo, perch茅 il colore 猫 un鈥檈ntit脿 sociale, culturale, storica.
Affascina, anzi, il contrasto fra il dato fisico immutabile nel tempo (per esempio, l鈥檃rcobaleno che si stendeva nei cieli dell鈥檃nno Mille era ovviamente frutto dello stesso fenomeno fisico che lo genera oggi) e la variet脿 della percezione (e nominazione) di questo dato (in tempi diversi colori diversi sono stati visti, individuati, nominati nell鈥檃rcobaleno).
Notevole anche la capacit脿 dell鈥檃utore di isolare avvenimenti e situazioni particolarmente significative ai fini della sua argomentazione e insieme affascinanti quali storie che ci svelano altri mondi: dai tintori di panni rossi che nel XIII secolo chiedono ai maestri vetrai di rappresentare i diavoli in blu sulle vetrate delle chiese per screditare la moda del nuovo colore, alle ridipinture subite da una statua della Madonna a Liegi: nera nell鈥檃nno Mille, blu nel XIII secolo, dorata alla fine del XVII e infine bianca nello scorcio dell鈥橭ttocento, in ossequio ai mutevoli orientamenti della riflessione teologica mariana. 芦Questa sovrapposizione di quattro colori successivi in un millennio di storia fa di questa fragile scultura un oggetto vivo, oltre che un eccezionale documento di storia pittorica e simbolica禄. Ci sarebbero poi da citare i contrasti fra i teologi come l鈥檃bate Suger, che esaltano il colore quale rappresentazione della luce divina e mezzo per rendere lode a Dio, e quelli come san Bernardo di Chiaravalle, che lo condannano in quanto materia, involucro, belletto, vanitas; il fatto che l鈥檌ride, lo spettro dei colori, per noi forma obbligata della loro rappresentazione, fosse del tutto estranea alla sensibilit脿 medievale e si affermi come sapere comune e forma comune della percezione soltanto dopo gli studi di Newton; la nascita in Francia della simbologia politica del blu e del rosso durante la Rivoluzione ecc.
Il volume ci introduce in mondi lontani dal nostro, dominati da sensibilit脿 diverse, mutevoli, in contrasto fra loro, e conduce a una pi霉 ampia esperienza dell鈥檈ssere umano.
Del medesimo autore segnalo Medioevo simbolico:
dove 猫 presente una sezione dedicata alla storia culturale dei colori, e
Nero. Storia di un colore:
鈥渧olume gemello鈥� di questo.
Read
October 17, 2023The story of a color is, of course, the story of how humans perceive that color and, comparatively, other colors. It was fascinating to read about the lack of mention in early records of the color we know as blue. The color blue seemed to arise out of a growing human perception of color, of the color wheel, and of the development of dyeing techniques.
Superstitions, and belief systems played an important part in establishing a color hierarchy in fashion in the 13th century, when this book begins it's history. The influence of religion and politics continues with some effect to this day.
The story of dye discoveries, using woad in the earliest years of blue colorizing and then indigo as a brighter, more resilient dye, and also, who had access to the colorants is, again, a story of humanity and civilization. In the late 19th and early 20th century, while France was insistant on having blue uniforms for it's soldiers, England controlled most of the supply of indigo. The French government compromised and gave their troops blue coats but bright red trousers. The heavy human losses in French military campaigns into World War 1 have been blamed on their soldiers' visibility in the field.
This study of blue diverges weirdly into several pages on the history of the French flag (and a couple of it's competitors). (Blue, may I remind you, comprises only a third of the French flag.) True, the author is French, but as much time could have been spent on the British, the US, the Czech, the Russian, or any other tricolored flag.
I picked up this book because blue is my favorite color. The book concludes that blue is about half the world's favorite color, so I, or you, if you share this characteristic, shouldn鈥檛 feel so special.
I found the final sentences oddly philosophical, if not judgemental. After a discourse on how the color blue evolved in human perception from a warm color to a cold color, and how that change might have occurred with the growing use of blue to signify bodies of water on maps, rather than the green used in the earliest maps, the author concludes: "In the collective imagination and daily life, however, it took quite a while for water to become blue, and for blue to become cold. Cold like our contemporary Western societies, for which blue is at once the emblem, symbol, and favorite color."
Superstitions, and belief systems played an important part in establishing a color hierarchy in fashion in the 13th century, when this book begins it's history. The influence of religion and politics continues with some effect to this day.
The story of dye discoveries, using woad in the earliest years of blue colorizing and then indigo as a brighter, more resilient dye, and also, who had access to the colorants is, again, a story of humanity and civilization. In the late 19th and early 20th century, while France was insistant on having blue uniforms for it's soldiers, England controlled most of the supply of indigo. The French government compromised and gave their troops blue coats but bright red trousers. The heavy human losses in French military campaigns into World War 1 have been blamed on their soldiers' visibility in the field.
This study of blue diverges weirdly into several pages on the history of the French flag (and a couple of it's competitors). (Blue, may I remind you, comprises only a third of the French flag.) True, the author is French, but as much time could have been spent on the British, the US, the Czech, the Russian, or any other tricolored flag.
I picked up this book because blue is my favorite color. The book concludes that blue is about half the world's favorite color, so I, or you, if you share this characteristic, shouldn鈥檛 feel so special.
I found the final sentences oddly philosophical, if not judgemental. After a discourse on how the color blue evolved in human perception from a warm color to a cold color, and how that change might have occurred with the growing use of blue to signify bodies of water on maps, rather than the green used in the earliest maps, the author concludes: "In the collective imagination and daily life, however, it took quite a while for water to become blue, and for blue to become cold. Cold like our contemporary Western societies, for which blue is at once the emblem, symbol, and favorite color."
February 11, 2008
I just realized I had never posted this. Unlikely as it seems, this coffee table book was a fascinating look at how blue came to be the most popular color among artists and in society, and taught me for the first time that there were sumptuary laws in various nations at various times designed to restrict the type and color of clothing commoners could wear so they didn't compete with the raiment of royalty. As I recall, one factoid was that the popularity of black and white for men's clothing, still epitomized in the tuxedo, came from sumptuary laws that restricted wealthy merchants to those colors.
December 19, 2009
While this book is full of pictures, it is very imformative. It discusses the history of color pigment, use and maeaning, and not only of the color blue. For example red was made from madder, a rusty red, and was the most common with yellow and black till the middle ages? Purple came from sea urchins and blue from lapis rocks.
Very interesting, and since its translated from the original French, I'd like to know just how Euro-centric it is.
Very interesting, and since its translated from the original French, I'd like to know just how Euro-centric it is.
April 2, 2013
Pastoureau's other books were already on my "to-read" list, but after finishing this one they've all jumped up to the top. It is heavy on French history -- I would have happily traded several pages about the French flag for more on other topics -- but overall it's a fascinating study, well-translated (so far as I can tell) and beautifully illustrated.
March 5, 2020
For all the blue lovers out there!
English:
罢眉谤办莽别:
English:
罢眉谤办莽别:
March 9, 2012
Fascinating analysis of the changing symbolic and social role of the color blue over time. Very informative.
Read
August 5, 2011Bonne lecture, tr猫s agr茅able, sujet original... on souhaiterait que certains aspects de cette histoire du Bleu soient un peu plus d茅velopp茅s (notamment toute la partie sur l'Antiquit茅).
October 9, 2022
褔懈褌邪谢邪 写谢褟 锌芯写泻邪褋褌邪, 锌芯薪褉邪胁懈谢懈褋褜 锌械褉胁褘械 写胁械 谐谢邪胁褘, 邪 褌邪泻卸械 邪薪械泻写芯褌 锌褉芯 褎褉邪薪褑褍蟹褋泻懈褏 褋芯谢写邪褌 胁 泻褉邪褋薪褘褏 褕褌邪薪邪褏. 邪斜褋芯谢褞褌薪芯 薪械芯斜褟蟹邪褌械谢褜薪芯械 褔褌械薪懈械
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