A Dictionary of Colour

A Dictionary of Colour دیکشنری تخصصی رنگها

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دیکشنری تخصصی رنگها A Dictionary of Colour

This work variously employs each of the above methods, but not with a view to providing definitions of colours. The vocabulary of colour is far too imprecise to make that objective a realistic one. The best way to indicate the ‘meaning’ of a particular colour word is to display its actual colour. Many works have embarked on that task including, in particular, Maerz and Paul. However, there is an infinite number of colours and shades, hues and tints (some suggest as many as 16 million) so that it would obviously not be possible to provide each of them with a distinct name. Furthermore, those colour descriptions which do exist do not have a sufficiently exact meaning to enable any colour to be determined with precision.
No colour description in word form can convey the information necessary to enable the precise shade and tone to be identified. Indeed, some colour names included in this Dictionary have several different (and sometimes conflicting) meanings. This is only partly due to the fact that our language is in a constant state of flux. It is also as a result of the fact that the perception of colour is a highly subjective matter. Colour is nothing without sight and sight is the only sense by which we can experience colour. We experience most other stimulae through two or more senses each corroborating the other.
Rather, the purpose of this work is to provide a treasury of words of, or concerning colour, and to do so in a way which is inviting enough to encourage readers to dabble.
Single subject dictionaries are grossly under-utilised, particularly as an introduction to the subject. All too frequently this powerful resource is dusted down and used in a one-off search for a definition after which it is immediately returned to its place on the shelf. A good dictionary should be regarded as a foreign land calling out for exploration and to which each visit is a journey of discovery, each dictionary entry drawing one onto the next, sucking in the reader and making it difficult for him to leave. I hope that this work might serve just such a purpose and will attract visitors to stay and explore rather than merely to pay a flying visit.
I would hope that this Dictionary, touching on the whole spectrum of colour relevance, will serve as an invaluable resource for art students and students of colour, although it is neither a technical exposition of the many facets of colour nor a guide on how to use colour.

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