丘堤作为中国早期现代绘画的先行者之一，目前学界对其绘画艺术风格的研究和讨论多集中在“主观性”与“装饰性” 等形式层面，而对其绘画色彩语言背后的文化转译机制尚有探讨和深化的空间。本文尝试通过“心色—转译”这一框架，说 明丘堤的色彩实践是一次将西方现代主义色彩体系转向中国传统“心性”美学的创造性内化过程。通过分析其色彩的主观性、 私密性与和谐性，本文总结丘堤的色彩语法，论证她将色彩的功能从对外部世界客观再现转化为对内在心灵世界的感知和表 达——即“以我观物”，从而为中国艺术现代性的转型提供了一条基于“内美”的独属于中国的路径。

As one of the pioneers of early modern painting in China, current research and discussions on Qiu Di's artistic style primarily focus on formal aspects such as "subjectivity" and "decorativeness". However, there remains room for further exploration and deepening of the cultural translation mechanisms underlying her color language. This paper attempts to elucidate Qiu Di's color practice as a c reative internalization process that transforms the Western modernist color system into the traditional Chinese "heart-mind" aesthetics. By analyzing the subjectivity, intimacy, and harmony of her colors, this study summarizes Qiu Di's color grammar, demonstrating how she shifts the function of color from objective representation of the external world to perception and expression of the inner spiritual realm—"viewing objects through the self". Thus, it offers a uniquely Chinese path to the modernization of art rooted in "inner beauty".