色彩在文学书写中长期被视为视觉再现的附属元素，其存在论意义长期被遮蔽。本文以残雪小说的色彩书写为切入 点，结合绘画史、现象学与语言哲学的理论资源，系统梳理色彩理论从本质论向现象学与语言游戏范式的转型。通过分析达·芬 奇、歌德、胡塞尔、梅洛- 庞蒂、维特根斯坦等人的色彩观念，本文指出：色彩不再是客观光学的被动再现，而是主体与世 界互构的“现象学褶皱”，更是语言游戏中权力规训与意义逃逸的场所。残雪小说中的魔幻色彩书写，正是这一范式转型的 文学实践，其以感官越界与语法叛离，重构了色彩在文学中的本体论地位。

In literary writing, colour has long been treated as a subsidiary component of visual representation, with its ontological significance consistently marginalized. Taking the colour discourse in Can Xue’s fiction as a starting point, this paper systematically examines the shift in colour theory from essentialist approaches to phenomenological and language-game paradigms, drawing on theoretical perspectives from art history, phenomenology, and the philosophy of language. Through an analysis of colour theories advanced by figures such as Leonardo da Vinci, Goethe, Husserl, Merleau-Ponty, and Wittgenstein, this paper argues that colour can no longer be understood as a passive representation of objective optics. Rather, it functions as a “phenomenological fold” in which subject and world are mutually constituted, and further, as a site where power disciplines meaning and meaning, in turn, evades such discipline within language games. The fantastical colour imagery in Can Xue’s novels exemplifies this paradigmatic shift— reconfiguring the ontological standing of colour in literature t hrough sensory transgression and grammatical deviation.