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".