The Beauty of the Chinese Language, the World's Color Palette

Words by: Yihan Wang

English translation by: Jingjia Liu

Illustration by: Stella Wu

The charm of the Chinese language lies in how it blends all the elements of the world into a single color palette. Chinese ancestors often named colors after poetic landscapes, mountains, rivers, and the concepts of yin and yang. These are all key components in this color system. By drawing from the natural biological properties and extracting colors from nature, these hues are continuously recombined to create new expressions. They have roots, veins, and connections. These words not only describe the colors’ characteristics but also imbue them with deep cultural meanings and emotional significance. Through these colors, it feels as if I can see the vast world’s scenery.

During my first year at Pratt, it was the encouragement and support of good friends that kept me steady and secure time and again. I often discussed the origins of these colors with my friend Louie, who is a fine arts major. When we went to Central Park to complete a nature painting assignment for our Light, Color, Design class, we built a strong bond. We chose the same spot to sit and sketch together. After a while, I opened a book titled “ 中国传统色—The Traditional Chinese Color.” He noticed the cover and asked me, “Sabrina, I’m curious how I could create my own painting using Chinese colors. Are the names for Chinese colors different from their English translations?” That question really inspired me to break down and anlyze the principles behind Chinese pigments.

I examined the historical context and patterns of Chinese pigments and explained to him slowly and step by step: “If you see the flickering shadows of trees gently swaying on the canvas, the lighter areas are light, and the deeper parts are green; when the warm sun rises, it leaves the warmest light on the clouds, then colors the coldest layer of the sky with ‘月白 (Yuebai), moon white,’ which is the white with a hint of green, cold like moonlight on porcelain. Under the interplay of light and shadow, the stones hold density and composure; the backlit part is a majestic ‘石青 (Shiqing), stone blue.’ It is a mineral pigment, naturally belonging to the painting.”

He was shocked and kept silent for a long time. Although we speak different languages, we can understand each other through the same canvas—painting connects us, and art allows us to lower our defenses and open our hearts. I feel like I am someone who brings Chinese culture to the world and builds essential connections through traditional Chinese culture. When the painting is halfway finished, I become entranced. In the early morning, it feels as if ancient painters created their works in front of the canvas. The ancestors have already enjoyed it on my behalf...

What is more, similarly in these following colors, in Chinese one might say 茶白(chábái ), ‘tea white ‘, which refers to the pale whiteness of fresh buds just beginning to bloom- light, cool, and almost translucent. Or consider green. Chinese speak of 竹青(zhuqing)’, ‘bamboo green ’, as the bluish-green skin of newly grown bamboo- slender, upright, carrying the quiet dignity of a gentleman. One appears bright, the other subdued, as though the color itself were breathing. For instance, ‘绯红(Feihong)’ is described as the red clouds at dawn illuminated by the rising sun at its warmest point- passionate and bright. When these two characters are spoken together, it’s as if the sky stirs with the exact imagery. Then there is ‘紫檀(Zitan)’, which is the name for sandalwood or rosewood, wherein growth rings form in layers year after year, representing annual cycles, but also the very veins of the word itself as both a living material and a concept. The word is also used to describe a rich purplish-brown color of remarkable warmth and weight.

If you ask me what medium I can use to communicate with people worldwide, I would say painting. It is undoubtedly the most distinctive and accessible form, transcending language barriers. During this year away from home, my life has been rich and meaningful. Reflecting on Chinese, I have come to realize what remains with me is not just colors- flowers, birds, moonlight, stones, growth rings all serve as ways to understand and express the world in my era. This is the romance that Chinese has taught me. In the future, I will continue to explore this intricate and colorful world through these rich and nuanced names.

汉语的魅力在于它将世界万物的元素融合于单一的色彩之中。中国古代人常以诗意的山水, 阴阳 , 植物来命名色彩。通过自然界的生物属性和色彩提取进行不断重新组合,长出新的表达。它有根 ,有脉络,有联想。这些词汇不仅准确地描述了颜色的属性,更赋予了它们深厚的文化内涵和情感 色彩。不仅精准地描绘了其特征,更赋予了深刻的文化内涵和情感意义。

透过这些色彩,我仿佛能看见广阔世界的风景。我的同学们常常表现出极大的热情与好奇。在普 拉特学院的第一年,正是朋友们的鼓励与支持让我一次次保持坚定与安心。我经常与艺术系的朋 友路易讨论这些色彩的由来。一次当我们前往中央公园,在 “Light, Color, Design” 课程中进行自然绘画作业时,我们建立了深厚的情谊。我们选了同一个位置坐下来一起作画。我打开一本名为 《中国传统色——The Traditional Chinese Color》的书。他注意到封面后问我:“Sabrina,我很好 奇,如何用中国色彩创作作品?中国色彩的名字和英文翻译是否不同?”这个问题让我陷入了深 思。于是,我尝试逐步剖析并分析中国颜料背后的原理。

我仔细研究了中国颜料的历史背景与纹样,并一步步向他解释道:“如果你看到画布上树木轻轻摇 曳的斑驳影子,较浅的部分是浅色,而更深的部分则是绿色;当温暖的太阳升起时, 它将最暖的光 洒在云朵上,然后用‘月白(Yuebai)’——一种略带青绿的白色,如同瓷器上的月光般清冷——染上天空最寒冷的层次。在光影交错之间,石头呈现出浓重而庄重的质感; 背光处则显现出雄伟的‘石 青(Shiqing)’,即石青色。这是一种矿物颜料,天然地属于绘画范畴。”

他感到震惊,久久沉默不语。尽管我们说着不同的语言,有时也会在翻译中迷失方向,但通过同 一幅画布,我们仍能彼此理解——绘画将我们联结在一起,艺术让我们放下防备, 敞开心扉。我感 觉自己将中华文化带入世界,通过中国传统艺术建立起不可分割联系。当画作完成一半时,我便 深深着迷,在某一个清晨时分,仿佛祖先早已替我欣赏过这幅风景画

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此外,在接下来的色彩中,中文里也常有类似表达。比如“茶白”(chábái),意为初绽新芽的淡白色 ,清冷而略带透明感。再看“竹青”(zhūqīng),指刚长出的竹子那青翠欲滴的嫩叶, 纤细挺拔,透出 文人君子的沉静尊严。一种颜色明亮,另一种则柔和,仿佛色彩本身在呼吸。例如,“绯红”(Feihóng)被形容为黎明时分,太阳最温暖的光芒照耀下,如燃烧的红云般炽烈而奔放。当这两个字并列出现时,仿佛天空也随之轻颤,画面中充满了精准的意象。接着是“紫檀”(Zitan),这个词既 指檀香或玫瑰木,也用来形容一种深

邃的紫褐色,蕴含着非凡的温暖与厚重感。年轮层层叠叠地 形成,代表着岁月的轮回,同时也象征着文字本身的脉络——既是鲜活的物质,也是抽象的概念。

倘若你问我用什么媒介可以与全世界的人交流,我会说:绘画。毫无疑问,它是最独特且易于理解 的形式,能够跨越语言的障碍。在这远离家乡的一年里,我的生活变得充实而有意义。回想中文 文化,我渐渐明白,留在我心中的并非仅仅是色彩——花朵、飞鸟、月光、石头、年轮,它们都是 我这个时代的理解与表达世界的方式。这正是中文所教给我的浪漫。未来,我将继续通过这些丰 富而细腻的名字,探索这个复杂而多彩的世界。