Colors

COMMUNICATE THROUGH COLOUR
Use of colours in marketing strategy for the fast-moving consumer goods industry

In this dissertation, I shall determine how a conscious use of colours can increase the effectiveness of communication and marketing strategies. Furthermore, I shall endeavour to build up a theoretical bridge to merge the most relevant studies about colours, in all its aspects, and the impact on communication strategies.
Primarily, I shall attempt to identify the most important theories that relate to colour and communication. I shall also consider the perception of colour as a physical, physiological and psychological phenomenon, in order to demonstrate its capability to gather symbolic properties. These properties can affect the individual behaviour on a subconscious level, breaking through the consumers' awareness, and making colour an essential tool in the world of communication.
In the second part, I shall explore how colours reinforces the communication and marketing strategy from a business perspective, focusing in particular on the fast-moving consumer goods industry. In addition, I shall examine carefully how colours are used in branding and packaging design, understanding the dynamics of the visual impact on the purchase decision-making process.
Finally, I shall analyse a rebrand case study for McDonald's company, which has always paid particular attention to the use of colours and how to benefit from it. Throughout the case, I shall highlight some of the most relevant marketing campaigns that lead McDonald's to be the global leader for the hamburger fast food industry, emphasising particularly on the branding and rebranding colours strategies applied.

The Philippines is a country that is both largely dependent on marine resources for its people's socio-cultural and economic activities, yet also highly vulnerable to extreme weather events caused by climate change. Recognizing this, a Climate Change Adaptation Project, with support from the Norwegian Trust Fund, studied three coastal communities in three (3) different provinces in the Bicol region, widely known to lie in the so-called 'Philippine typhoon belt'. The project sought to establish a community-based adaptation strategy in pilot sites by providing guidance on setting appropriate policies, climate proofing livelihoods with adaptation measures, and institutionalizing science-based-decision support systems. The project also sought to develop a replicable template that can be used by and adapted to all other similar sites in the Philippines. The project had four major components: (1) policy and legislation, (2) vulnerability assessment, (3) bio-physical adaptation...

The Archimedes Palimpsest is a 10th-century parchment manuscript that was erased in the 13th century and overwritten with a Christian prayer book. The Walters Art Museum in Baltimore, MD, USA has supervised a ten-year collaboration by conservators, imaging scientists, and scholars to image and transcribe the original writings. This paper reports on the variety of optical imaging and image processing techniques used in the project. Image analysis tools to clarify texts included supervised segmentation via a spectral pseudoinverse calculation, deterministic renderings in pseudocolor, and statistical analysis with dynamical pseudocolor rendering.

To determine what effect the set size of a group of colors has on the time required to recognize whether or not a target color belongs to the set. FINDINGS Increasing set size-from one to two colors results in a significant increase in time to recognize individual colors; however, further increases in set size, up to seven colors, causes little, if any, additional increase in time to recognition. APPLICATION It appears that the use of up to seven colors on sonar displays, where memory for color would be important, will have little or no detrimental effect on the time to recognize color set members. Thus it may be possible to use as many as half a dozen colors, even for tasks involving absolute identification, without any significant decrement in performance.

All rights reserved This volume is a product of the staff of the International Bank for Reconstruction and Development / The World Bank. The findings, interpretations, and conclusions expressed in this volume do not necessarily reflect the views of the Executive Directors of the World Bank or the governments they represent. The World Bank does not guarantee the accuracy of the data included in this work. The boundaries, colors, denominations, and other information shown on any map in this work do not imply any judgment on the part of the World Bank concerning the legal status of any territory or the endorsement or acceptance of such boundaries.

The objective of this report is to present practical measures that can be implemented to help countries minimize the economic and social consequences when confronted with power shortages. By reviewing the causes of and responses to power shortages in Chile, China, California, the Dominican Republic, Japan, and particularly Brazil, this report analyzes ways in which governments, utilities, consumers, and other stakeholders can deal with the multifaceted aspects of power rationing. This report highlights the case of Brazil as one of the best international practices. Chapter two lays the groundwork for dealing with rationing and distinguishes between three types of power shortages as a basis for formulating effective solutions. Chapters three and four examine case studies in which power shortages have led to different rationing responses. Chapter five details technological, financial, social, and other factors distinguishing each rationing episode. Chapter six compares quotas based on ...

Le cercle chromatique est la représentation circulaire des couleurs dans l'ordre d'un arc-en-ciel. Les couleurs primaires « matière » (pigments, peinture, crayons, etc.) sont: Le Cyan Le Magenta Le Jaune Elles ne peuvent pas être obtenues par le mélange d'autres couleurs. Les couleurs secondaires sont le mélange à part égale de 2 couleurs primaires: Cyan + Jaune = Vert franc Magenta + Cyan = Bleu violacé Jaune + Magenta = Rouge orangé En variant la proportion de couleurs primaires on obtient des nuances intermédiaires: Vert jaunâtre, Bleu-vert, Jaune orangé, Orange, Rouge cerise, Violet, etc. Les couleurs tertiaires sont le mélange de 3 couleurs primaires. Les couleurs complémentaires sont diamétralement opposées sur le cercle chromatique: Ex. Vert franc et Magenta Les couleurs chaudes vont du jaune au rouge (évoquent la chaleur du feu, du soleil) Les couleurs froides vont du vert au violet (évoquent la fraicheur de l'eau, de l'air) Le noir et le blanc ne sont pas des couleurs mais des valeurs. La valeur désigne la nuance plus ou moins claire ou sombre d'une couleur: Les couleurs pastel sont obtenues en ajoutant (beaucoup) de blanc. Les couleurs rabattues sont obtenues en ajoutant (un peu) de noir. Les couleurs opaques sont obtenues en ajoutant peu d'eau à la peinture. Les couleurs transparentes sont obtenues en ajoutant beaucoup d'eau à la peinture. Demande Réalisez votre propre cercle chromatique le plus soigneusement possible (couleurs en aplats, opaques, peindre sans débordement, précision des couleurs, propreté de la planche)

In examining writings by Winckelmann, Goethe and Hegel, the essay demonstrates that within the neo-classical tradition arguments emerged that had clear racial im-plications. While eighteenth-century classicism started off dismissing color as a factor in judging beauty, ...

In seabirds, colors of feathers and external tissues have only recently been studied, and ultraviolet (UV) color has not yet been detected. Using live individuals as well as museum skins, we found UV peaks of reflectance in two large Aptenodytes species, King (A. patagonicus) and Emperor (A. forsteri) Penguins. UV reflectance did not occur on the feathers, claws, or skin of these species, nor did we find UV reflectance in five other genera of penguins (11 species). UV peaks overlapped with spots of color on the lower beak that appeared orange for human observers, and beak spots differed slightly in location between the two species. Adults of both sexes possessed these UV markings, but they were lacking in juveniles, as was the orange color of the beak spot, and auricular patches used for selecting mates. Finally, measure-Manuscript

American Director Wes Anderson's films are an interesting case study on the use of representation and visual language as elements capable of implementing the narrative underlying the film plot. His films, in fact, are constructed according to a logic similar to that of architectural representations. The combination of geometries, perspectives, textures and colors generates a code of signs capable of mediating between the intelligible and the sensitive, between the idea and the image. In particular, chromatic aesthetics constitutes a carefully curated component in the image sequences. The balanced and perfect color compositions, however much they may seem a decorative whim, represent a clever narrative device that, designed according to logical patterns, is able to embody symbolic and communicative values. This research, therefore, aims to investigate the language of color in Anderson's films, with the aim of analyzing its narrative potential. The color is investigated both as a narrative content of the filmic atmosphere and as a narrative container of emotions and symbols. The double register of analysis used for Anderson's films can become a trace of a general methodology of analysis, applicable not only to the works of other directors, but also to other forms of visual narration.

Packaged food products are now available in supermarkets which has increased consumer choice. In addition, competition between packaged food products has also increased. The consumers decision making process is strongly infl uenced by product packaging. Thus, the aim of the study is to measure the eff ect of product packaging (i.e. packaging color, packaging material, font style, packaging design and printed information) on consumer purchase intentions. Consumers of packaged foods in Karachi belonging to the age group of 18-35 years were surveyed through a questionnaire adapted from the earlier studies. The sample size for the study was 278 comprising a response rate of 95%. Preliminary statistical investigation consisted of reliability, validity and normality analyses. The developed hypotheses were empirically examined through regression analysis. The results suggest that all the hypotheses were accepted. The results also indicate that product packaging has a signifi cant eff ect o...

This review explains how color combinations influence our perception and our aesthetic appreciation. In addition, the studies under review, which are purely qualitative, describe the semantic processing of color associations (according to the three pillars of the color-emotion space) and explain, through a mathematical formula and theoretical evidence, why the emotional intensity we experience in front of a pair of colors depends on the individual colors’ hues that constitute it.

RESUMEN Este artículo investiga algunos de los valores plásticos y estéticos que presidieron la selección y la preparación de las materias colorantes empleadas para iluminar los códices creados por los nahuas del México Central durante el Posclásico Tardío. Estos códices son interesantes porque análisis arqueométricos y exámenes co-dicológicos recientes han permitido conocer la materialidad de su capa pictórica, así como las características formales y el comportamiento de los colores en estas obras. Uno de los aportes trascendentales de estos estudios ha sido averiguar que la paleta cromática que sirvió para pintar los códices del México Central era principalmente de origen orgánico, lo que contrasta con la naturaleza de los pigmentos detectados en restos de pintura mural y en esculturas creadas por los nahuas que son sobre todo minerales. El objetivo de este artículo es reflexionar sobre las razones de esas diferencias y demostrar que el uso de los colorantes orgánicos en los códices respondía a un fin plástico específico que concordaba con el canon estético imperante en la sociedad náhuatl.

More than one hundred multi choice problems and their solutions in colors, dyes and pigments chemistry are represented in this paper review. Reviewing the basic, fundamental principles and/or the knowledge of colors, dyes and pigments chemistry via multi choice problems and their solutions is an interesting type of reviewing and can be considered as a novel and/or patent type of reviewing which is lacking in literature. This paper review is informative and acts as a mordant and/or stabilizer for the basic information, fundamental understanding, principles and/or knowledge in colors, dyes and pigments chemistry, and it may be very interesting to read by a large community of dyers and colorists, and also by professors and teachers in this field. It is valuable both for getting an overview in the field of colors, dyes and pigments chemistry and as a mine of information for the dyestuff chemists. In addition, this paper review can be published and/or printed as a thesis and/or note book teaching and lectures for undergraduate and graduate students of chemistry departments and/or chemistry institutions at any university. Besides, this paper review can be used and/or will be most valuable in domestic and/or international scientific and/or chemistry competitions, in organic chemistry as general and particularly in the field of colors, dyes and pigments chemistry.

Packaged food products are now available in supermarkets which has increased consumer choice. In addition, competition between packaged food products has also increased. The consumers decision making process is strongly infl uenced by product packaging. Thus, the aim of the study is to measure the eff ect of product packaging (i.e. packaging color, packaging material, font style, packaging design and printed information) on consumer purchase intentions. Consumers of packaged foods in Karachi belonging to the age group of 18-35 years were surveyed through a questionnaire adapted from the earlier studies. The sample size for the study was 278 comprising a response rate of 95%. Preliminary statistical investigation consisted of reliability, validity and normality analyses. The developed hypotheses were empirically examined through regression analysis. The results suggest that all the hypotheses were accepted. The results also indicate that product packaging has a signifi cant eff ect on consumer purchase intentions. It was also found that packaging material has the strongest infl uence on consumer purchase intentions followed by packaging color, font style, packaging design and printed information. Future studies may investigate how consumer purchase intentions are infl uenced by other elements of packaging in the context of Pakistan.

Bbu çalışmada yeni-gerçekçi Fransız
ressam Yves Klein (iv  ƙlayn) 'ın hayatı, eserleri hakkında temel bilgiler
verilmiştir. Yeni gerçekçilik, II. Dünya Savaşı sonrası ortaya çıkmış
çağdaş bir sanat akımı olarak dünyaya bakış açısı, basmakalıp fikirlere
karşı duruş, gelip geçiciliğin bilincinde olarak, yaşanılanı sahiplenme ve
günlük yaşantının şiirselliği konularını işlemiştir. Klein de bu
sanatçılardan birisidir.

Науката за цветовете буди интереса не само на физици, биолози, анатоми, художници, но и на философи, езиковеди, литератори. Чрез багрите предметите и хората придобиват своеобразна индивидуалност и уникалност във времето и пространството. Какво е присъствието на цветовете и нюансите, които Алеко Константинов ползва при изграждане на любимия си герой Бай Ганю? С какви изразни средства и чрез какви похвати писателят постига определена тоналност, интензивност и цветово въздействие върху читателя – това е въпросът, който е тема на настоящото изследване. Анализират се няколко разказа от едноименната книга на А. Константинов, като в съпоставителен план се откриват паралели и различия между българския и немския език. Проучването има за цел да установи как цветовите образи в литературното повествование са намерили езиково изражение в оригиналния и преводния текст, след което да се направят изводи за двата езика.

Öz Tarihi insanlık tarihi kadar eski olan renkler, insanlar tarafından duyguların ifadesinde çokça kullanılmıştır. Edebi eserlerde de gerek doğaya ait unsurların ifadesinde, gerekse insana ait duygu ve düşüncelerin yansıtıl-masında renklerin sahip olduğu anlamlar ve çağrışımlardan yararlanılmıştır. Özellikle sanat endişesi ve şairane üslubun esas alındığı Divan şiirinde renk-lerin özel bir yeri vardır. Klasik şiir estetiğine bağlı olarak şiirler yazan Divan şairleri, mensubu oldukları estetik anlayış gereği, duygu ve düşüncelerini ifa-de ederken kullandıkları özgün veya klasik simge ve sembollerde, tasvir ve çağrışımlarda renklerden faydalanmışlardır. Şairler sevgilinin güzellik unsur-larından bahsederken, bunları nesnelere benzetmişlerdir. Zamanla artık bu nesneler kullanılmadan, istiare yoluyla ifade ettikleri anlamlardan yararlanıla-rak sadece renklerle sevgilinin güzelliği anlatılmıştır. Klasik şiir anlayışının en başarılı şairlerinden olan Nedîm de renkler ve ifade ettikleri anlamları şiirlerine taşıyan şairlerden biridir. Yaradılışı iti-bariyle renkli bir kişiliğe sahip olan Nedîm, bu özelliğini şiirlerindeki renkli hayaller ve tasvirlerde ortaya koymuştur. Nedîm'in kendine has üslubunun, şairlik kudretinin ve renk kullanımının yansımaları "olmuş sana" redifli gaze-linde görülür. Şair, konu birliği sağladığı ve her beyitte sevgilisinin bir vasfı-nı anlattığı bu gazelinde, renklerin simgesel özelliğinden faydalanmış ve her beyitte farklı bir rengi ön plana çıkarmıştır. Bu sebeple çalışmamızda, söz konusu gazelin her beyti sırasıyla ayrı ayrı değerlendirilerek, beyitlerde renklerin kullanım şekli ve amacı ile birlikte hâkim renkler tespit edilmeye çalışılmıştır.
Anahtar Kelimeler: Divan Şiiri, Nedîm, Renkler, Renk Simgeciliği,
Renk Tenasübü.
Abstract
Colors which are as old as the history of mankind have been widely
used by people in the expression of emotions. In literary works, the meanings
and connotations of colors have been used both in the expression of the elements
of the nature and in reflecting the feelings and thoughts of the human.
Especially in Divan poetry based on artistic worry and poetic style, colors
have a special place. Divan poets, who wrote poems depending on classical
aesthetics, benefited from colors in the original or classical symbols, depictions
and associations that they used to express their feelings and thoughts as a
necessity of the aesthetical poetry understanding they belonged to. When poets
talked about the beauty elements of their beloved, they likened them to
objects. In time, without using these objects, only through colors, the beauty
of the lover was explained by using the meanings which they expressed with
metaphors.
One of the most successful poets of classical poetry, Nedîm is one of
the poets who carried the colors and the meanings they expressed into his
poems. Nedîm, who had a colorful personality from his creation, revealed
this feature in the colorful dreams and descriptions in his poems. The reflections
of Nedîm's unique style, power of poetry and use of colors are apparently
seen in his ghazel with the redif “olmuş sana”. This ghazel in which he
provided subject unity and mentioned the beauty of the beloved in every couplet,
he used the symbolic feature of colors and emphasized a different color
in each couplet. For this reason, in our study, each couplet of the ghazel in
question was separately evaluated respectively, and the dominant colors were
tried to be determined with the way and the purpose of the use of colors in
the couplets.
Keywords: Divan Poetry, Nedîm, Colors, Color Symbolism, Color
Proportion.

1-Introduction: Color considered one of the main aspects of visual communication. It has a remarkable impact on people's way to receive and interpret images. Color also has a functional role in attracting attention, conveying messages and evoking emotions. This explains why color is a significant element in brands visual identity. Color is a powerful communicative tool, and a memorable visual element that carries key symbolic and associative information and able to evoke certain emotions towards almost everything. It is the key element in grabbing viewer attention and has the power to motivate and persuade. Triedman and Cullen (2004) related brands with color associations in order to increase the confort level of the consumer. For example, red with green convey the idea of good Italian food. Dnews (2010) published that "Colors speak louder than words, time can be saved over the last 20 years, and clients' estimates of the time saved for them by the Color Affects system have averaged between 45% and 60%". A strong brand visual identity system depends on an attractive color to be visible and differentiated. It also consistently uses the same color in all its visual communications to be able to be recognizable, especially in increasingly competitive and saturated markets. Cultural associations, visual and psychological effects are very important considerations in choosing a color for a brand. But building a strong brand identity needs to widen our view and think about the common in different countries. It is important to understand the meanings of colors from one culture to another and how they differently interpret colors in the visual messages. A quick preview on global brands we can observe using almost the same colors, because they depend on the same references in choosing them. They aim to choose the appropriate colors that most of people will accept and understand globally. Avoiding risks and owing a suitable color are the reasons. Therefore, blue, reds are the most global brand colors all over the world. On the other hand, aiming to build a distinguished visual identity that could stand for the uniqueness and visibility needs to think differently when choosing a global brand color. This raises a question about how can we build a strong color identity for a global brand and what is more important for a global brand' color, appropriateness or uniqueness. Social media applications became a part of our daily life. They enable us to be connected to the whole world, and to be heard and seen, they also became the main source of our information. Mobile and tablet devices are now the main communicative channels for advertisers because they provide the ability to communicate on a personal level, so they are now perfect tool to achieve brand engagement. Choosing color for a brand needs to think carefully about the objective, personality and values the brand stands for. Brands aim to persuasion, trying to convey a certain message and communicate on a mental level; this objective needs to seek for color appropriate to be more credible. But Visibility and differentiation are very important to build strong brand equity as well and achieve satisfying degree of brand awareness. Ciotti (2016) on the contrary stated in his study "Impact of color on marketing," that color alone affects up to 90% of snap judgments made about products, another study conclude that brand personality is the main factor that affect color choice and therefore the color design depends on perceived appropriateness. In this context study, we are trying to develop a criteria in order to measure the degree of importance of both uniqueness and appropriateness in designing color identity for a global brand. Facebook, Twitter, Linkedin, Youtube, Instagram and Whatsapp are the applications were selected according to the results of surveys and studies proved that they are the most popular mobile applications in the years 2015/2016. The study aims to find an answer for the previous questions, through an analytical study of social media websites on mobile and tabs devices to explore what is more important for global brands when designing their color identity. 2-Background and Literature Review: Color is a light energy with different wavelengths, that influencing our perceptions. 4 primary colors (red, blue, yellow and green) were recognized, according to the way that color is processed in the eye and the brain. Subconsciously our eyes and bodies are continuously adapting to these wavelengths of light trying to reach the 1

Ortaçağ’da renklerin tarihi ülkemiz akademik
çevrelerince çalışılmış bir konu değildir. Bu
konunun doyurucu bir şekilde çalışılmamış olmasının
sebebi, klasik bir tarih anlayışı ile yapılamayacağından
kaynaklanmaktadır. Çünkü renkler
bizden sadece Tarih’i istemezler. Tarih ile birlikte
Biyoloji, Ziraat, Kimya, Coğrafya, Sanat, Arkeoloji,
Tekstil, Maden, Ticaret bilgisi kısacası hepsini içinde
barındıran “İnterdisipliner Tarih” anlayışı istemektedir.
Aksi halde; Anadolu köylüsünce toplanıp
satılan Kökboya bitkisinin, İskenderiye’de Şap ile
birleşmesini, Venedik’te dokunmasını, Flandre’de
işlenmesini ve bir Frank kralının kök boya kırmızısı
pelerini üzerine giyme serüvenini başka türlü nasıl
izah edebiliriz. Bu amaç doğrultusunda dönemin
ana kaynakları tarih metodolojisine uygun olarak
incelenecektir. Ortaçağ Akdeniz coğrafyasında Kırmızı
boyarmadde elde edilmesinde kullanılan bitkisel
boyarmaddelerden Kökboya, Havacıva, Safran,
Yoğurtotu bitkileri ile hayvansal boyarmadde elde
edilmesinde kullanılan Kermes, Lak ve Murex’in
Akdeniz coğrafyasında üretildiği ve bulunduğu bölgeler
tarafımızdan çizilen haritalarla gözler önüne
serilecektir. Söz konusu bu haritalarda boyamacılı-
ğın en önemli maddesi olan Şap’ın, çıkarıldığı bölgeler
ve Ortaçağ’ın önemli boyama merkezleri de
tarihsel kaynaklar ışığında gözler önüne serilecektir.
Bunlara ilaveten Ortaçağ Akdenizi’ndeki doğal boyama
yöntemleri, kırmızı rengin anlamı ve kullanı-
mı tarihsel örneklerle bilim dünyasına sunulacaktır.
Ayrıca alana özgü katkı sağlaması açısından, Orta-
çağ’da Kırmızı rengin üretimi ve kullanımı hakkında
çalışma yapan araştırmacıların dikkatini çekmek ve
farklı boyarmaddeler hakkında çalışmalar yapacak
olan araştırmacılara fikir sunacağı düşünülmektedir.

Le pellicole del regista statunitense Wes Anderson costituiscono un interessante caso studio sull"uso della rappresentazione e del linguaggio visuale come elementi in grado di implementare la narrazione sottesa alla trama cinematografica. I suoi film, infatti, sono costruiti secondo una logica simile a quella delle rappresentazioni architettoniche, in cui la combinazione di geometrie, prospettive, pattern e colori, genera un codice di segni, sintetico e universale, in grado di mediare tra intellegibile e sensibile, idea e immagine. In particolare, l"estetica cromatica costituisce una componente attentamente curata nelle sequenze di immagini: sebbene le sue composizioni di colori equilibrate e perfette possano sembrare un capriccio decorativo, esse rappresentano un abile espediente narrativo che, progettato secondo schemi logici, è in grado di incarnare valori simbolici e comunicativi. La presente ricerca, pertanto, si propone di indagare il linguaggio del colore nei film di Anderson, con l"obiettivo di analizzarne le potenzialità narrative.

SHADES OF THE RED COLOUR IN POLISH AND ITALIAN – THE COMPARATIVE ANALYSIS
The main goal of this article is the comparative analysis of non-basic hues of the red colour in Polish (25 lexemes) and Italian (44 lexemes). Both languages harmoniously categorize only 14 lexemes. Sharped differences among categorization in both languages come from the distinctive ascribing shades of colours to the particular semantic field either Polish or Italian linguists...

There are few semantic categories as ubiquitous yet elusive as those designating colors. Shiyanthi Thavapalan's The Meaning of Color in Ancient Mesopotamia (based on her 2017 doctoral thesis submitted to the Department of Near Eastern Languages and Civilizations at Yale University) is a major contribution to the study of colors in the ancient Near East, both in terms of philology and material culture. The study is well-conceived and wellwritten, and its insights will enlighten anyone interested in how Akkadian, and language more generally, divides and describes the visible segment of the electromagnetic spectrum.

Resumen:
El presente artículo analiza la significación simbólica del color como manifestación de la Belleza divina en el Diarium spirituale (La revelación de los secretos, Kashf al-asrâr) de Rûzbihân Baqlî Shîrâzî (m. 606/1209), uno de los grandes místicos del amor del sufismo persa. El diario de Rûzbihân es un documento excepcional de la literatura sufí. Paul Nwyia ha descrito este texto como «único en el campo de la mística islámica, incluso de la literatura mística universal», y Henry Corbin era de la misma opinión. El diario de Rûzbihân está lleno de visiones de asombrosa intensidad, y contiene encuentros extraordinarios con Dios, los ángeles, los profetas y los santos sufíes. A su vez, en el arte moderno, los Diarios de Paul Klee muestran la vigencia del sentido espiritual del color como una forma de visión interior.

Summary:
This article analyses the symbolical meaning of the colour as a manifestation of divine Beauty in the Diarium spirituale (The Unveiling of Secrets, Kashf al-asrâr) by Rûzbihân Baqlî Shîrâzî (m. 606/1209), one of the great love mystics of the Persian Sufism. Rûzbihân’s diary is an unusual document in terms of Sufi literature. Paul Nwyia has described this text as «unique in the field of Islamic mysticism, rather in world mystical literature», and Henry Corbin held the same view. Rûzbihân’s diary is filled with visions of astonishing intensity, and it contains remarkable encounters with God, the angels, the prophets and the Sufi saints. At the same time, in Modern Art, the Diaries by Paul Klee show the current of the spiritual sense of the colour as a way to express an inner vision.

The chapter is the third in a series of joint studies on colors in Japanese literature, focussing on the role that the fictionalization of his experience in London as a scholar played on Natsume Soseki (1867-1916) ' s overall allegoric view of the supernatural in his London diary, and the many fictional pieces based on his experience abroad. The methodology is essentially philological, analyzing terms, verbs, adverbs used in the description of scenes where the mingling between reality and the imaginary is the main narrative device. The paper also comprises a comparison with early Chinese material authored by Soseki, previously unedited in the English language.

This article investigates the colors of the Nahua manuscript known as Codex Borbonicus and compares them with the chromatic qualities of the first color reproduction of this docu-ment, a photochrom executed at the end of the 19th century. Based on a detailed examination of the original, the first part of this article describes the physical traits of the Borbonicus, with special emphasis on its color palette. Subsequently, are described the characteristics and the academic significance of the first color edition of the manuscript, published by Ernest-Theodore Hamy in 1899. Finally, the article underlines that even if true facsimile editions of the Borbonicus are now available, the first reproduction of the document still deserves to be consulted by the Americanists, because it grants access to a no longer existing image of the Borbonicus, while its saturated colors recall the chromatics features of the Pre-Columbian Nahua codices.