It was 1876 that we started learning western style of art execution/theory.

Sanae: “Traditionally, Japanese paint/draw subjects with lines (not with planes). Children are taught the Munsell color system in elementary school along with the concept of primary and secondary colors.”Īre there Japanese concepts of color and light that are completely foreign to most U.S. However, in the old days, there were only four color names in Japanese. They are red (AKA), black (KURO), blue (AO) and white (SHIRO). Green was included in the range of blue.Īre Japanese children raised to recognize the same set of primary colors as American kids? So we have Japanese color names correspond to key color names such as red, blue, yellow, violet, and green. Sanae: “In the Japanese education system, art education employs western style theory and method. In Japan, do Western color names such as “red, blue, yellow, violet, and green” correspond to similar hues there? We paid extra attention to this scientific topic on both readability and accuracy.”

It is easily expected that this topic will draw readers’ attention. Sanae: “Is Moonlight Blue?” was the most difficult topic to translate. This topic explains a new and sensational fact. What concepts in Color and Light were the most difficult to translate? Given that Western and Japanese traditions are so different, I wondered what was involved in translating the ideas in my book for Japanese readers.” The translator of Color and Light, Sanae Hiraya, very generously offered to answer some questions. James: “I am always fascinated by the way ideas about the visual world vary from culture to culture. Last summer, Japanese publisher Born Digital ordered the fifth reprint of Color and Light: A Guide for the Realist Painter. Does the visual world vary from culture to culture? by James Gurney

James gurney color