|| Topics, such as the relationship between color and literature or representation of color image, have been discussed and examined widely by the academia in the field of Japanese literature since researches from scholars like Ihara Aki, Maeda Ujo,and Uemura Rokuro for the past years. However, the theme of this thesis mainly clarifies the ancient Japanese’s thinking of two colors “awo (bluish-green) and midori (green)” on the issue of color presentation in the ancient Japanese literature.
The purpose of this thesis is to investigate the color presentation and color viewpoint of ancient Japan in order to understand how the thinking on color images changes during cultural process so that we can acquire Japanese’s color background on that era. At the same time, the research method of this paper adopts the documents analysis based on the literature before Japanese Heian Period and historical findings as the object of study. The idea of this thesis is derived from the concept that human behavior is the product of thought, and the use of color behavior is also one of the links reflecting human thinking. Therefore, based on this thought, if we can clarify color presentation of the ancient Japanese, we should be able to know the thouhgts and views on colors of the ancient Japaneses. The reason why these two colors "awo (bluish-green)" and "midori (green)" are our study focus is because that in the ancient period between China and Japan, there is a wide range of color recognition for both colors, and recognitions between the two color hues affect each other resulting in significant impact, which therefore leaves great room for study. In sum, this thesis is to investigate and examine the thinking and meanings of color hue presentation existing in the ancient Japan in terms of origin of color thinking, presentation of paper’s color matching, and recognition of color thinking and language for the ancient Japaneses.
The main result of this thesis is that the ancient Japaneses regarded colors as the manifestation of abstract thoughts and emotional states. The selection of colors and matching presentation were closely related to daily routine activities. At the same time, in terms of color presentation in the literature of Heian Period, the conditions of establishing esthetic sense came from the awareness of color matching presented by ancient Japanese. And from the definition of color language and the use of vocabulary of the "two blue (futaai)", "green (midorigo)" give us a glimpse of the ancient Japaneses, who understood and defined the blue and green colors with pure Japanese thinking. Also, from the color view of the ancient Japaneses, it deduced the "natural" intuition and therefore we can suggest the origin of its part originated from the early Taoist thought in ancient China. In addition, research from the "sky" of the color hue field shows that the ancient Japaneses indeed recognized "bluish-green sky" as "blue color", and afterwards, they used "green color" to translate and expressed "bluish-green sky" what ancient Japanese recognized and understood. As a result, "green sky" was the manifestation of their inner picture and was presented as poetic writings in the ancient Japanese literature. Another research focus is on the color hue of "water color," resulting in green and blue, the two gamut of colors. The ancient Japaneses often used "bluish-green wave" and "green wave" implying the color hue of green, bluish-green, and blue, manifesting vast and unlimited lyric ideology. All of the above are the research directions leading to examine color presentation in the ancient Japan from investigating the two colors "awo (bluish-green" and "midori (green)." The color characteristics of color presentation in the ancient Japan not only truly reflected the melting element of colors, nature, customs, and social environment, but also highly expressed its autonomy of color conveyed by the Japanese thinking.