This paper begins with the observation that in ancient Greek literary and philosophical tradition as well as in painterly practice colour is perceived as pertaining to the nature of the object itself and almost being one with it. It then considers the relationship between Greek painterly practice and philosophical accounts of colour(s), arguing that the philosophers show a substantial lack of interest in the painters’ practices. Dyeing technology also seems to be of little interest to colour theorists, who seem more focused on the visual effect of colours than on the behaviour of pigments and dyes. However, as I ultimately suggest with an anthropological turn of the discourse, referring to dyeing practices may be helpful to understand the intriguing predominance of the white/ black/red triad both in the scientific explanations and in the Greek chromatic vocabulary.
A few remarks on the relationship between materials, technology and colour experience in ancient Greece.
Maria Michela Sassi
2023-01-01
Abstract
This paper begins with the observation that in ancient Greek literary and philosophical tradition as well as in painterly practice colour is perceived as pertaining to the nature of the object itself and almost being one with it. It then considers the relationship between Greek painterly practice and philosophical accounts of colour(s), arguing that the philosophers show a substantial lack of interest in the painters’ practices. Dyeing technology also seems to be of little interest to colour theorists, who seem more focused on the visual effect of colours than on the behaviour of pigments and dyes. However, as I ultimately suggest with an anthropological turn of the discourse, referring to dyeing practices may be helpful to understand the intriguing predominance of the white/ black/red triad both in the scientific explanations and in the Greek chromatic vocabulary.I documenti in IRIS sono protetti da copyright e tutti i diritti sono riservati, salvo diversa indicazione.
