As the core visual gene of Eastern aesthetics, traditional Chinese colors carry the philosophical speculation, cultural context, and natural aesthetic wisdom accumulated by the Chinese nation over thousands of years. Taking the digital work "Oriental Hues · Digital Realms: An Experimental Suite on the Contemporary Translation of Traditional Chinese Aesthetics", jointly created by the author and the postgraduate team under supervision, as a practical sample, this paper focuses on the visual translation and AI-generated creation of traditional Chinese colors. Centered on four series—"Five Elements Cosmos" "Oriental Color Connotations" "Chilechuan" and "Color · Image · Threshold: Twenty-Four Frames of Solar Terms"—it explores the design approaches and morphological expressions of traditional Chinese colors in digital interpretation from four dimensions: philosophy, cultural lineage, nature, and time. The study aims to provide practical and referential cases for the contemporary revitalization of traditional Chinese colors and the construction of a digital realm of Eastern aesthetics.

"Iris color" serves as the smallest and most complex natural color unit of the human body. It is not only the product of the combined effects of biological genetics and optical structures, but also a crucial carrier of cultural aesthetics and identity. Focusing on the color gamut characteristics of iris color within the Chinese population, this study conducted empirical observations of 300 volunteers under Standard Illuminant D65. The findings confirm that the iris color of the Chinese population predominantly falls within the dark brown spectrum. The study employs a dual-layer transparent film overlay colorimetry method, alongside closely associated B-HLC four-dimensional parameter recording. Drawing methodological inspiration from the traditional Chinese "Jiugong" (nine-square grid) philosophy, this research establishes a framework to innovatively design a "Nine- Square Grid Iris Colorimetric Scale." This scale utilizes vertical and horizontal axes to categorize the cool-warm temperature of the hue and the high-low levels of lightness, thereby constructing a "nine-quadrant" color difference analytical model for iris color. This model effectively encompasses the iris color characteristics of the vast majority of the Chinese population, and by extension, East Asian populations. This research further advances and deepens existing Western iris color classification systems. Additionally, it pioneers a new research pathway for the study of "biological color," enriching the methodologies of fundamental color science research. The outcomes offer a valuable exploration into national image aesthetics, color applications in medical aesthetics, interdisciplinary color education theory, and the development of practical tools.

Boli peasant paintings are the most representative form of folk art in the Lixiahe water town region of northern Jiangsu, characterized by their vivid and distinctive color palette. This article systematically analyzes the color system of Boli peasant paintings from three perspectives: aesthetic characteristics, folkloric connotations, and contemporary transmission. It identifies three key features in the use of color: a high-purity overall tone, a decorative order marked by strong contrast, and subjective color application. The formation of this color palette is rooted in the combined influence of seasonal customs, folk notions of auspiciousness, and local handicraft traditions in the Lixiahe region. Building on this foundation, the paper further explores the cultural identity functions and preservation challenges of this color system in the contemporary context. It argues that the continuity of Boli peasant painting’s color tradition depends on the conscious preservation of the local aesthetic experiences and rural cultural psychology that underpin it.

This paper adopts the Practical Color Coordinate System (PCCS) to perform quantitative research and visual analysis on the autobody colors of thirty-eight models from seven domestic New Energy Vehicle (NEV) brands over the past five years. An autobody color database was established by extracting RGB values of autobody colors and converting them into PCCS tone parameters. Sankey diagrams were utilized to visualize and analyze the relational mechanisms among "brand, base color system, and PCCS tone." The research findings demonstrate that achromatic color system (black, white, and grey) maintain their dominant position in NEV autobody color selection, while blue, green, and purple have gradually emerged as prevailing colors among NEV. Furthermore, differentiated autobody color strategies play a pivotal role in constructing and enhancing brand recognition. Notably, the quantified tone results exhibit a high degree of consistency with the official color style definitions formulated by the participating automotive brands, thereby verifying the validity and applicability of the PCCS in analyzing color-brand correlation. This study provides a data-driven quantitative analysis framework for NEV autobody color design, which facilitates the accurate grasp of color application patterns and market visual preferences, and further supports efficient and scientific color design decisions in the NEV industry.

Centered on Schlemmer’s Dynamic Color Theory during the Bauhaus period, this study adopts a three-tier framework of "theoretical tracing - analysis of theatrical practice - teaching translation and verification" to systematically reveal the paradigm shift of color from "static decorative symbols" to "dynamic emotional language". The discussion unfolds from three dimensions: theoretical breakthrough, practical innovation, and contemporary adaptability, further clarifying the academic value and application boundaries of this research.

The mural in Cave 45 of the Mogao Caves, "The Transformation of the Sutra of Perfect Nirmāna", is not only the pinnacle of Buddhist art during the Tang Dynasty, but also a treasure trove of color aesthetics with profound symbolic logic. Its color system transcends the simple decorative function and constitutes the core visual language for constructing a sacred space, advancing the narrative rhythm, and conveying religious philosophy. However, the protection limitations of the physical cave and the aging of the pigments pose challenges to the complete understanding and in-depth experience of this color system. The research focuses on the digital translation and immersive reproduction of the color system of the "Transformation of the Sutra of Perfect Nirmāna" in Cave 45. Firstly, it systematically dissects the material composition, symbolic system of the mural colors, and their roles in space and time within the narrative of Unborn Anger and Sixteen Views. Secondly, it explores the technical path of high-fidelity color acquisition, material reconstruction, and dynamic rendering based on virtual reality (VR) technology. Finally, it innovatively proposes the Color Narrative Interaction framework, using color changes as a key interactive medium to drive the user's immersive experience, understand the sequence of contemplation, and achieve emotional resonance.

The decorative artistry of Southern Xinjiang residential doors, as a product of multicultural integration, features colors that not only exhibit distinct visual characteristics but also actively participate in the narrative construction of rural cultural tourism as symbolic elements. In the common color schemes of these doors—such as green, blue, yellow, white, and red—color functions in multiple dimensions: through symbolic narrative, it condenses regional cultural memory and natural metaphors; through structural narrative, it delineates spatial boundaries and rhythms, reinforcing the door’s role as a liminal threshold; and through emotional narrative, it creates atmospheric tones that guide emotional transitions, elevating the daily act of passing through the door into a ritualistic experience. Ultimately, as a symbolic construct, color transforms Southern Xinjiang residential doors from mere physical spaces into narrative spaces rich in cultural meaning and emotional depth.

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".

In the local expression of public art, the deconstruction and reconstruction of color symbols is an important pathway to activate the vitality of regional culture. This aims to break the long-established "essentialized" labels of regional color symbols by stripping away singular associations, reorganizing historical fragments, and excavating marginal symbols. By integrating contemporary contexts, technological means, and cross-disciplinary thinking, it endows traditional color symbols with new narrative logic and forms of expression, establishing a deep connection with contemporary society. The two aspects complement each other, allowing color symbols to escape the static predicament of being "regional specimens" while transforming them into dynamic carriers of historical memory that respond to the needs of the times. Ultimately, this promotes the local expression of public art from a simple replication of regional culture to a cultural dialogue that embodies both critical and creative dimensions, providing important support for constructing a vibrant urban color ecosystem.