When actually observing specific objects in life, it is absolutely impossible to avoid the action and influence of light. Even under white light, the object image has a light-receiving surface, a backlight surface and a side-light surface. At the same time, the object image cannot not be affected by the different colors of the surrounding objects. In this way, the hue and appearance of any specific object in life is not presented as a simple, static, and uninterrupted inherent color appearance, but a complex color combination, even so complicated that it is sometimes difficult for people to tell the exact color of a specific object. What exactly is a natural hue? For example, the White Pagoda in Beihai Park in Beijing, no one denies that it is white (inherent color). But when people observe it at a specific place, angle and time, many questions arise. First of all, the bright side of the tower is white, so is the dark side also white? It stands to reason that it should also belong to the inherent color of white, but the dark side of the tower body shows a blue-gray deeper than white, and when tested by scientific means, it is also the length of the blue-gray color light wave. So objectively, it has completely become two different colors. How can this color phenomenon be explained? Secondly, even if it is a bright white pagoda, because it is round, there are different angles of light reception, so objectively no place is the same white inherent color, so which place is the white color is the inherent color of the white pagoda ?

These phenomena cannot be explained only by seeking the exact answer with the concept of inherent color. The ancient Greek philosopher Aristotle once proposed that "if the light shines on an object, the color of light based on the object will change again" [illustration], indicating that he has noticed the color of the object, which occurs due to the light. It is a pity that he did not further investigate the law of this color change. The Chinese Tang Dynasty poet Li Bai also discovered "color light" different from sunlight and the color changes presented by objects affected by "color light". For example, in the fourteenth song of "Sixteen Songs of Qiupu", he recited: "The fire shines in the sky and the earth, the red stars are scattered with purple smoke. The moon is bright and the song is cold." This is a poem describing the copper smelting workers at that time. . The poem does not write black and gray smoke, but uses "purple smoke" to describe the color of smoke. In the poem, the smelter is also called "Zuilang", because the black smoke is illuminated by the fire, and the cold light of blue and black forms a mixture of black, blue and red to form purple smoke; the smelter works regardless of skin color or clothing. The color, in the light of the fire, the whole person's illuminating surface, all turned red; Li Bai called it "Zunlang", which translated into vernacular as "red person". Therefore, "Zuilang" and "Purple Smoke" are a very realistic reproduction of the conditional color phenomenon of the smelting site. The important thing is that "Ziyan" and "Zuilang" are not the inherent color hue of gray smoke and yellow-faced white overalls. .

From the color phenomenon described in this poem, it can be seen that under the main influence of color light (red light of fire), "Purple Smoke" and "Zui Lang", the color sense of the object image has been separated from its own inherent hue and presented. A new hue look. This new color appearance is not an illusion, nor is it Li Bai's subjective creation, but a real objective existence. The color tendency of this new look is not only the result of the fusion of the light source color and the inherent color, but also the ambient color - the participation of the cold color of "Chanchuan" under the blue cold light of the moonlight, "Purple Smoke" and "Zunlang" "It is the result of this complex contrast and fusion of colors. Because poetry cannot be fully displayed with intuitive color effects, it can only be used to point out the key points. If this scene is represented by painting, then the back side of "Zui Lang" - the side that is not illuminated by the fire, but only the place exposed to the cold light of the moonlight, I am afraid that the other side of "Zui Lang" will become "Han Lang" . From Li Bai's descriptions of "Purple Smoke" and "Zui Lang", we can see that he has discovered the beauty of colors other than intrinsic colors, that is, the beauty of conditional colors.

When actually observing specific objects in life, it is absolutely impossible to avoid the action and influence of light. Even under white light, the object image has a light-receiving surface, a backlight surface and a side-light surface. At the same time, the object image cannot not be affected by the different colors of the surrounding objects. In this way, the hue and appearance of any specific object in life is not presented as a simple, static, and uninterrupted inherent color appearance, but a complex color combination, even so complicated that it is sometimes difficult for people to tell the exact color of a specific object. What exactly is a natural hue? For example, the White Pagoda in Beihai Park in Beijing, no one denies that it is white (inherent color). But when people observe it at a specific place, angle and time, many questions arise. First of all, the bright side of the tower is white, so is the dark side also white? It stands to reason that it should also belong to the inherent color of white, but the dark side of the tower body shows a blue-gray deeper than white, and when tested by scientific means, it is also the length of the blue-gray color light wave. So objectively, it has completely become two different colors. How can this color phenomenon be explained? Secondly, even if it is a bright white pagoda, because it is round, there are different angles of light reception, so objectively no place is the same white inherent color, so which place is the white color is the inherent color of the white pagoda ?

These phenomena cannot be explained only by seeking the exact answer with the concept of inherent color. The ancient Greek philosopher Aristotle once proposed that "if the light shines on an object, the color of light based on the object will change again" [illustration], indicating that he has noticed the color of the object, which occurs due to the light. It is a pity that he did not further investigate the law of this color change. The Chinese Tang Dynasty poet Li Bai also discovered "color light" different from sunlight and the color changes presented by objects affected by "color light". For example, in the fourteenth song of "Sixteen Songs of Qiupu", he recited: "The fire shines in the sky and the earth, the red stars are scattered with purple smoke. The moon is bright and the song is cold." This is a poem describing the copper smelting workers at that time. . The poem does not write black and gray smoke, but uses "purple smoke" to describe the color of smoke. In the poem, the smelter is also called "Zuilang", because the black smoke is illuminated by the fire, and the cold light of blue and black forms a mixture of black, blue and red to form purple smoke; the smelter works regardless of skin color or clothing. The color, in the light of the fire, the whole person's illuminating surface, all turned red; Li Bai called it "Zunlang", which translated into vernacular as "red person". Therefore, "Zuilang" and "Purple Smoke" are a very realistic reproduction of the conditional color phenomenon of the smelting site. The important thing is that "Ziyan" and "Zuilang" are not the inherent color hue of gray smoke and yellow-faced white overalls. .

From the color phenomenon described in this poem, it can be seen that under the main influence of color light (red light of fire), "Purple Smoke" and "Zui Lang", the color sense of the object image has been separated from its own inherent hue and presented. A new hue look. This new color appearance is not an illusion, nor is it Li Bai's subjective creation, but a real objective existence. The color tendency of this new look is not only the result of the fusion of the light source color and the inherent color, but also the ambient color - the participation of the cold color of "Chanchuan" under the blue cold light of the moonlight, "Purple Smoke" and "Zunlang" "It is the result of this complex contrast and fusion of colors. Because poetry cannot be fully displayed with intuitive color effects, it can only be used to point out the key points. If this scene is represented by painting, then the back side of "Zui Lang" - the side that is not illuminated by the fire, but only the place exposed to the cold light of the moonlight, I am afraid that the other side of "Zui Lang" will become "Han Lang" . From Li Bai's descriptions of "Purple Smoke" and "Zui Lang", we can see that he has discovered the beauty of colors other than intrinsic colors, that is, the beauty of conditional colors.