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The term "blue" (as a color) did not appear in Persian literature prior to the 12th century A.H./ 18th century A.D. However, the term "violet" is frequently mentioned, and especially in Ferdowsi's Shāhnāmeh. In spite of this fact, the Berlin-Kay theory proposes that human languages develop a term for the color blue in their fifth state of evolution; then developing a term for the color violet in the seventh stage of evolution. The present study aims to answer the following questions: What are the characteristics of the color violet in Ferdowsi's Shāhnāmeh? To what extend do these characteristics align with contemporary definitions of the color violent? This study applies the Berlin-Kay theory and investigates instances of mentioning the color violet in the text of Shāhnāmeh (edited by Khāliq-i Muṭlaq). These instances are then compared with other verses in Shāhnāmeh and other works of Persian poetry, in order to re-present the characteristics of the color violet in the text and its relation to the current definition of violet in Persian language. The findings showcase that the characteristics of the color violet in Shāhnāmeh concord with the color azure blue and not with the color of violet as known in contemporary Persian. [ABSTRACT FROM AUTHOR]

qing (青) is a very special and controversial color term in Chinese language and culture for the fact that it can refer to green, blue, or black depending on how it is used in collocation or context; it can be used as both a basic color term and mixed color term; in context it can be understood to refer to a certain color, but sometimes nobody can tell for sure what specific color it refers to; it can refer to color, but in more situations the understanding of it just goes beyond the perception of color, bringing about a vague but delightful feeling about the world in general. Basic as well as associative meanings of this term existed at the early stage of its creation, and these meanings can still be perceived in various situations in modern Chinese, used inmuchmore extensive way. To a large extent, it has become a rather peculiar sign of Chinese culture, held so firmly, dearly and lastingly by the Chinese people. The case of qing serves as a typical example that reflects how the Chinese perceive the world. [ABSTRACT FROM AUTHOR]

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This article describes a color naming experiment using 2D and 3D rendered color samples. Conventional color naming experiments using a priori clues generally involve 2D clues such as color patches. However, in real-world scenes, most objects have 3D shapes whose colors are affected by illumination effects such as shadows and gloss. We use 2D and 3D rendered samples as clues in the experiments, and analyze the relationship between color terms and object surfaces. First, we develop a color term collection system that can produce 218 test colors. We render the color images of a flat disk as a 2D sample and a sphere as a 3D sample on a calibrated display device. It is supposed that the 2D and 3D surfaces with the same object color are obtained under the same conditions of viewing and illumination. The results of color naming experiments show that there are differences for color terms between 2D and 3D samples. Important findings are as follows: (1) brighter color terms tend to be chosen for the 3D samples than the 2D samples, when observing achromatic colors, (2) achromatic color terms are chosen for 3D samples having low saturation, and (3) for chromatic colors, a darker color term is generally chosen in comparison to the corresponding 2D samples of the same color. These properties become more prominent by changing the illumination angle from 0 to 45 to the surface normal [ABSTRACT FROM AUTHOR]