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Renaissance and Colour ,Jeong-mu Yang This study is concerned with the practice and theory of colour in Italy at the critical point of time with emphasis on the beginning of ‘Alberti System’; the term referred to the colour modeling based on tonal emphasis in the exchange of chromatic beauty in Italian Renaissance. Modern colour theory shows that all the colours have three categorical dimensions; 1) hue(色相), 2) saturation(彩度), and 3) value(明度). In the history of European painting, however, it is of great interest to observe that these three dimensions did not constitute the system of colour experience simultaneously; they were practiced with much various modes, depending on time and place. In Medieval paintings, for instance, it is difficult to separate the idea of value from the idea of hue. More precisely, it can be said that Medieval painters had only a tentative knowledge of value in the understanding of colours. Evidently, it is Quattrocento Italian painters who were for the first time aware of the importance of value in colour and made the intensive use of it in picture-making, conceiving colour as representing light as well as modeling. The preoccupation of colour as the representation of light, together with the analysis of space by the newly-developed rule of linear perspective, remained as the dominant tradition of European painting next coming five centuries. In conclusion, I will propose that it was grey which did not only play an important role of the development of naturalistic paintings, but also gave them dignity in their looks, which might help to modernize the visual world of a city republic Florence, for instance-with growing interest in classical civic world.


Renaissance and Colour ,Jeong-mu Yang This study is concerned with the practice and theory of colour in Italy at the critical point of time with emphasis on the beginning of ‘Alberti System’; the term referred to the colour modeling based on tonal emphasis in the exchange of chromatic beauty in Italian Renaissance. Modern colour theory shows that all the colours have three categorical dimensions; 1) hue(色相), 2) saturation(彩度), and 3) value(明度). In the history of European painting, however, it is of great interest to observe that these three dimensions did not constitute the system of colour experience simultaneously; they were practiced with much various modes, depending on time and place. In Medieval paintings, for instance, it is difficult to separate the idea of value from the idea of hue. More precisely, it can be said that Medieval painters had only a tentative knowledge of value in the understanding of colours. Evidently, it is Quattrocento Italian painters who were for the first time aware of the importance of value in colour and made the intensive use of it in picture-making, conceiving colour as representing light as well as modeling. The preoccupation of colour as the representation of light, together with the analysis of space by the newly-developed rule of linear perspective, remained as the dominant tradition of European painting next coming five centuries. In conclusion, I will propose that it was grey which did not only play an important role of the development of naturalistic paintings, but also gave them dignity in their looks, which might help to modernize the visual world of a city republic Florence, for instance-with growing interest in classical civic world.