Colour has a complex and diversified cu7ltural construct. Serious works on colors in its historical cont6ext is rare. The search for universal or archetypal truths in colour is ahistorical and devoid of transcultural truth, despite what many books based on pseudo-esoteric pop psychology would have us believe.
The silence of historians on the subject of colour is the result of three different sets of problems. The first concerns documentation and preservation. We see the colours transmitted to us as time has altered them from their original past. Moreover, we see them under different conditions from those know by past societies. The second problem concerns methodology. The historian must grapple with a host of factors; e.g., physics, chemistry, materials, iconography, ideology, and the symbolic meanings that colours convey. The proper method resembles that of palaeontologists studying cave paintings without the aid of texts.
The third set of problems is philosophical: it is wrong to project contemporary conceptions and definitions of colour onto past objects as judgments and values are not static and eternal. The danger of anachronism is very real. For example, the natural order of colours was unknown before the 17th century as was the notion of primary and secondary colours. however, research on colours aims is to explore to show how far beyond the artistic sphere this history of colour err in considering the artistic realms only, the lessons to be learned form colour lie elsewhere.
The silence of historians on the subject of colour is the result of three different sets of problems. The first concerns documentation and preservation. We see the colours transmitted to us as time has altered them from their original past. Moreover, we see them under different conditions from those know by past societies. The second problem concerns methodology. The historian must grapple with a host of factors; e.g., physics, chemistry, materials, iconography, ideology, and the symbolic meanings that colours convey. The proper method resembles that of palaeontologists studying cave paintings without the aid of texts.
The third set of problems is philosophical: it is wrong to project contemporary conceptions and definitions of colour onto past objects as judgments and values are not static and eternal. The danger of anachronism is very real. For example, the natural order of colours was unknown before the 17th century as was the notion of primary and secondary colours. however, research on colours aims is to explore to show how far beyond the artistic sphere this history of colour err in considering the artistic realms only, the lessons to be learned form colour lie elsewhere.
What is the first reason the writer gives for the lack of academic work on the history of colour?
What is the first reason the writer gives for the lack of academic work on the history of colour?
Created: 4 years ago |
Updated: 2 weeks ago
Updated: 2 weeks ago
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ক
There are problems of reliability associated with the artefacts available
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খ
Historians have seen colour as being outside their field of expertise.
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গ
Colour has been rather looked down upon as a fit subject for academic study
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ঘ
Very little documentation exists for historians to use
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ক
Skimming
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Scanning
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10-25 cm
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10-20 mm
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End to racism and civil and economic rights
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Civil War
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He reads out the Emancipation Proclamation
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Lincoln had asked him to give the speech
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ঠিকানা যুক্ত করা যাবে
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অটো প্রতিষ্ঠানের নাম
অটো সময়, পূর্ণমান
প্রশ্ন এডিট করা যাবে
জলছাপ দেয়া যাবে
ঠিকানা যুক্ত করা যাবে
Logo, Motto যুক্ত হবে
অটো প্রতিষ্ঠানের নাম
অটো সময়, পূর্ণমান
অটো নির্দেশনা (এডিটযোগ্য)
অটো বিষয় ও অধ্যায়
OMR সংযুক্ত করা যাবে
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অটো নির্দেশনা (এডিটযোগ্য)
অটো বিষয় ও অধ্যায়
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ফন্ট, কলাম, ডিভাইডার
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