First, read the chapters "Yellow," "Green," and "Blue" in Victoria Finlay's Color.
The rhetorical mode of division/classification involves taking a concept or idea (such as "color") and dividing it into various types, genres, or categories. Finlay uses this rhetorical mode as the overall structure of the book, breaking each chapter into one "type" of color from the rainbow.
1. Find another example where Finlay uses division/classification within one of the three chapters of "Yellow," "Green," or "Blue." How does she develop these categories?
The rhetorical mode of compare/contrast explores similarities and differences between different ideas or things.
2. Find an example where Finlay compares and contrasts things or ideas in the chapters "Yellow," "Green," or "Blue." What larger point is she trying to make through comparing and contrasting?
The rhetorical mode of process analysis explores the steps involved in a process. This could be in the past tense (how something was done), the present tense (how to do something), or the future (how something should be done). Find an example where Finlay analyzes a process in the chapters "Yellow," "Green," or "Blue." Why is she detailing this specific process?
In Finlay’s chapter “Blue”, she used the rhetorical mode of division/classification when she said “My search for this one particular blue was to led me to other blues as well. I learned how, trying to imitate the beauty of ultramarine, artists and craftsmen experimented with paints made of copper and blood (Finlay. 281).” This quote was just a start to all of the different types of blues that Finlay talks about. She talks about blue as a whole, and then separates it into categories relating to different things, for example the beauty of ultramarine.
ReplyDeleteFinlay also compares and contrasts in the chapter “Yellow” when she stated “The first time I went there I wanted it to be dark and old fashioned, but instead it is bright and neon- a bit too much like The Centre for my liking (Finlay. 217).” The larger point that she is trying to make through comparing and contrasting the dark and the neon lightness is that in the art gallery, she wanted it to be dim with lights only on the pictures when instead, there was bright lights everywhere which gave the gallery a sense of a neon color that she’s describing.
Finlay used the rhetorical mode of process analysis in the chapter “Green” when she stated “Had someone been there before them? They would have wondered. Was there nothing left for them to discover? But then they would have seen a doorway at the end, with a fierce Door God carved in bas-relief protecting it. And after carefully working out the locking mechanism and shinning their torches through into the second chamber, they must have gasped (Finlay. 251).” She detailed this specific process because she is describing the fear of the situation that these individuals are in. She is describing that these individuals are in a place where they think that someone intruded and they are fearful.
Finlay uses division/classification in the chapter "yellow" on page 203 when discussing about all the different classifications the color yellow could portray and how it is different in other countries. For instance, Finlay states, "No color has a neat unambiguous symbolism, but yellow gives some of the most gold and angelic haloes- and it is also at the same time a color of bail, and in its sulfurous incarnation it is the color to the Devil." Finlay divides the color yellow in to multiple categories while trying to describe all meanings possible to it. For example, she mentions that it is angelic yet it is the color of the devil at the same time, she is dividing the color into two possible classifications of it. Instead of stating yellow as the color of the sun or a vibrate color that brings joy she divides it into various types of categories. In addition, she also briefly compares and contrasts the color and its identifications in Asia and China because in Asia it symbolizes power however, in China the color represents declining of power.
ReplyDeleteFinlay uses comparing and contrasting in the chapter "blue" on page 286 when making different statements about the color blue and how it is used to represent multiple meanings. Finlay states, "It is curious that in English the word blue should represent depressing as well as transcendent things; that it should be the most holy hue and the color of pornography..." She then compares the color in terms of how an artist would use or define the color blue. After contrasting the colors numerous meanings, she then compares them by stating, "Fantasy, depression and God are all, like blue, the more mysterious reaches of our consciousness." The larger point she is trying to make by comparing and contrasting the colors meanings is that no matter what its literal meaning might be the color is very versatile and has numerous purposes/effects. Also, to not just limit one color to a specific meaning because there is much more meanings to it.
Finlay uses process analysis in the chapter "green" when she tells us the process of how she believes this secret porcelain color might be on page 246. She lets us into her imagination using steps to inform the reader how she believes the color will be oppose to the actual outcome of what she thought. For instance, she states, "When I first heard of this secret porcelain, I tried to imagine what it was like. At first I wanted it to be the misty color of the sea at the dawn." She then starts knowing more and more about the color and is conflicted because it was not what she was envisioning. Finlay states, "But then I saw a rather smudgy picture of mise in a museum art catalogue and I prepared myself to be disappointed." Finlay takes us through her process of discovering this secret color and uses words such as "first" and "then" to lead us to her findings through the process.
Division and classification can be clearly viewed in Finlay's passage from "Blue." "... I fondly imagined this special porcelain to be like bright jadeite, with a luster of emeralds.” (pg. 240) In this passage, he uses descriptive words to give a division on the potential different shades of greens there are. She goes on and describes the color he imagined to be, “… dirty, olive brown, …” (pg 240) This is just another example of a different classification of green. She is able to develop these categories by using descriptive words and was as words like “greenish,” “kinds of green,” and “shade(s) of green” to prove that there are divisions and classifications of green.
ReplyDeleteFinlay brings up comparing and contrasting in her chapter “blue” when she talked about the meaning of blue as an English word. She compares to color to “Fantasy, depression and God…” One way she backs this up is by comparing it to the jazz form the Blues. She does this to give the colors more meaning. It shines a brighter light on the effects colors have.
In every chapter of “Color” Finlay uses analysis of the process of how colors were created. She does this to show the rich history of color and its importance. In her chapter “yellow” she talks about her experience In the ashram in Monghyr. Finlay beings up a conversation she had with one of the men dressed in white. They talk about the different meanings of color. “Yellow is the light in nature.” By her discussing this process, she is displaying the importance of color.
Finlay’s used the rhetorical mode of division and classification in the chapter “Yellow” when she said “No color has a near unambiguous symbolism, but yellow gives some of the most mixed messages of all. It is the color of pulsating life- of corn and fold and angelic haloes- and it is also at the same time a color of bail, and in its sulfurous incarnation it is the color of the Devil” (225). This quote gives meaning of yellow in different groups. Finlay talks about yellow being corn yet it’s the same color
ReplyDeleteand meaning as the Devil.
Finlay used compare and contrast in the chapter “Green” when she said “I had wanted mysterious to denote something filmy and soul-like, suggesting something that was just out of sight, rather like the half-visible designs of dragons you sometimes find carved into some of the nonmysteries kinds of green Chinese porcelain” (272). She compares and differs green dragons and nonmysteries Chinese porcelain.
Finlay used rhetorical mode of process analysis in chapter “Blue” when she said “That corner was probably blank because the paint had not arrived from the patron-and the twenty-five-year-old artist could never have afforded to pay for it himself” (310). She tells us how the twenty-five-year-old artist couldn’t afford the paint and how the corner was blank because of that.
Heriberto Pina
ReplyDeleteIn Finlay’s chapter “Yellow,” she compares and contrasts when she states, “ I remember lots of young women talking and all the music. There would be parties until midnight (pg.233).” Mainly it compares and uses examples how things would be ten years ago before things changed. It also talks how Consuegra went from wealthy to a poor town.
Finlay used the rhetorical mode of division/classification in the chapter “Green” when she said “ There was “secret celadon, ” but there were also the secrets of celadon. Perhaps it was nothing more than astonishingly successful early advertising or marketing (pg. 258).” It was also thought of celadon to have magical powers. It gives examples and classification what celadon was and what they believed.
Lastly, on the chapter “Blue,” she used “Ultramarine is a word that always seemed to me to taste of the ocean (pg. 281).” She is saying that out of all blue's this particular blue color reminds her of the ocean. By giving examples of it being smooth, salty sound just like the ocean.
In the chapter “Green” on page 258 by Victoria Finlay uses division/classification when she said “The best jars had to be able to “talk,” or at least ti give a clear ringing sound when struck, and if they gave a good tone then people would consider them to be the homes of Gods. The best jars are separated from the other jars because they can talk and it is like they have special powers. the best jars are also closer to God compared to the other ones. There is division and all the jars are classified for a specific purpose.
ReplyDeleteFinlay compares and contrasts in the chapter “Yellow” on page 203, by saying that “yellow is the color of bile… color of the devil…mixed with black- is a warning…color of power…also the color of declining power… and sickness”. It compares and contrasts the meaning of yellow depending on the subject it is used. For instance, she said that in Asia below means power and it ahas sunshine-robes in China, but it is also the meaning of a decline in power as well. It talks about how it is the color of the devil in regards to bile as well as when the season autumn comes.
Finlay analyzed a process in the chapter “Blue” on page 281 with the words “My search for this one particular blue was to led me to other blues as well. I learned how, trying to imitate the beauty of ultramarine, artists and craftsmen experimented with paints made of copper and blood.” She expressed how her she wanted one blue, ended up in another blue, and learned about old artists and their history. The first step was one color blue and the next step was a different color blue in the end. Learning to imitate ultramarine and craftsmen takes history because you veto learn them and their thought process to be able to take from it and apply to your own.
Compare and contrast is used by Finlay in "Green" when she states "In Southeast Asia, for example, the best Chinese jars were believed to be sorcerers- nature embodied in clay to the extent that it could be tempted out as a dijinn." and "In borneo a jar owned by the Sultan was supposed to have the power of prophecy, and to have "howled dolefully" on the night before his wife died." (pg. 258) Finlay is comparing and contrasting the different meanings of what the jars represent in those areas.
ReplyDeleteDivision and classification is used in "Yellow" when Finlay states "It is the color of pulsating life - of corn and gold and angelic haloes - and it is also at the same time a color of bile, and in its sulphurous incarnation it is the color of the Devil." (pg.203) From this, Finlay is classifying the different meanings of yellow. She represents the meanings in a positive and negative way as she states yellow being the color of corn and also representing the devil.
Finlay use process analysis in the chapter "Blue" when she states "And I learned how miners discovered cobalt, a strange and rather nasty interloper of a mineral, which the Chinese used for their most valuable porcelains and with which the medieval glaciers caused sky-colored lights to dance around cathedrals." (pg.281) This shows how there's a process of how cobalt was discovered.
1. In the chapter “Blue” in the section called a gremlin blue Finlay uses division. In this section she divides the discovery and use of cobalt blue based on location and time period. Europeans who came across it referred to it as gremlin because the metal attracted arsenic. They did not find the quality appealing so it was discarded by miners. Persians found the best use for cobalt was to use it for tile glaze. While the Chinese also used it for glaze but on porcelain work. During different century’s the Chinese found several uses for cobalt (p.296-p.297). The separation based on location creates categories of the discovery and different uses of cobalt blue.
ReplyDelete2.In the section titled the lost greens in chapter “Green” Finlay compares and contrasts the different recipes used to create green. She compared the color outcome of the Persian, European, and Chinese recipes. They all produced a similar pistachio green color found in their paintings. The contrast was the ingredients used to compose the color in some recipes. Text provided recipes similar to the European and Chinese with the difference being sheep-milk yogurt as an ingredient. This detail is specified in the chapter to provide the different means of obtaining the same color in different locations (p.274).
Throughout the book “Color” Finlay uses classification in each chapter to separate the colors. In each chapter she goes further and divides how the color was discovered in different locations and the different uses.
1. In "Blue" Finlay uses the rhetorical mode of divisioin and classification in describing two types of blue. "But azurite is a byproduct of copper mines, and it is the sister stone of malachite. so it naturally tends toward the green side of the spectrum, whereas ultramarine veers towards the violet."(pg 287) in the next sentence she shoes how she classifies the two different blues and puts them into seperate categories according to how artist use them. "The difference can be summed up in how artist used the two paints: ultramarine to give hieght to the skies, and azurite to give depth to the seas."
ReplyDelete2. in "Yellow" Finlay provides a great example of the rhetorical mode of compare and contrast when describing safron. "It is red but it is yellow; it is expensive but it is affordable; it can dry out your liver but it can make you roar with laughter; it has almost died out but it is produced in bulk." (pg 223) Finlay makes these comparisons to show how paradoxical this spice/color truly is. the chapter goes on to further reinforce the paradoxes she talks about.
3. In "green" Finlay explains to us a complex process in which the Chinese have been doing to create a green pigment that Europeans struggled to recreate. Finlay tell us this process to show how complex the recipe is to make and also to show how European thinkers wouldn't have came up with it because of their knowledge in how colors are made. "Lo Kao was made neither from leaves nor berries but from bark--which the Europeans did not seem to have thought of...the bark would be boiled for several days and then a length of cloth would be thrown into the mixture. several days later the cloth--now brown--would be removed from the bark broth in the evening, and left to dry through the sunshine of the next morning. when the clock struck midday the cloth was brought inside, and in those places where the sun had touched it, it would be green. The cloth was then boiled again until the green pigment soaked off into the pot. the sediment was collected, dried, exported and sold for extraordinarily high prices." (pg 277)
On page 203, Finlay uses different classifications about the color yellow. For example, Finlay says. "In animal life, yellow-especially mixed with black- is a warning". Finlay is describing how in the animal life yellow is classified as a warning. However, in Asia, Finlay describes how it is categorized as a sign of power or declining power. The classification of yellow, varies on it's location and ones culture may interpret it.
ReplyDeletein the chapter "Blue", Finlay has compared and contrasted the color of blue to it's different representations of it. On page 286, Finlay is describing how blue is used as a color to create space within different settings. However, Finlay also says that "Fantasy, depression and God are all, like blue, in the more mysterious reaches of our consciousness". She is comparing the space to the ways that what was said in the quote are also uses of space but different versions of space within the mind and feelings.
In the chapter "Green", Finlay uses analysis of step by step on page 255. The quote is, "Then she realized this was the finest paper available at the time..". Finlay is describing the process of a woman unwrapping objects and how at first the woman was excited, then her emotions went to confused and lastly the woman's emotions were relieved and excited once again.
In the chapter “Yellow”, Finlay uses division/classification to break down the various types of yellow pigments such as Indian Yellow, gamboge, orpiment, and saffron. Finlay uses subheadings throughout the chapter to develop each category. Each yellow is broken up into a different section based on the processes used to make the pigment and also the origins of the materials that make up the pigment.
ReplyDeleteIn the chapter “Blue” Finlay compares and contrasts the two pigments Ultramarine and azurite. Finlay explains that azurite is a much cheaper pigment than Ultramarine. Azurite is not nearly as stable of a pigment as Ultramarine. Finlay makes this point to explain Michelangelo’s unfinished painting, The Entombment, and why The Virgin Mary was not painted with azurite, but Mary Magdalene was painted with azurite.
Finlay analyzes the process of creating the paint, Scheele’s Green, in the chapter “Green”. Scheele’s Green is a copper arsenite based paint that was widely used for paint and wallpaper. Finlay analyzes the process involved in the creation of this poisonous green pigment to explain why Scheele’s Green caused many people to become ill or, in the case of Napoleon Bonaparte, die.
Finlay uses compare/contrast in the chapter “Yellow” on Pg.21 when stating, “I liked my piece of gamboge from Man Luen Choon very much. When I added a drop of water to it and created bright yellow paint, I felt like a magician and showed the trick to all the children I met. Finlay is comparing herself to a magician. Magicians are often used when there is an audience usually kids to whom they can do tricks without the kids knowing the simplicity to the trick. The tricks may seem simple but to children, but It leaves them in “ooh.” Similarly, she mixed the piece of gamboge with water and made a bright yellow paint. A simple step but to children it may seem as if she did magic and that is why she showed it to children when encountering them.
ReplyDeleteFinlay uses division/classification in the chapter “Blue” pm Pg. 280 & 281 when classifying the different blues and what they were used for. Ultramarine was classified as a royalty color in which it was worthy to be used in the robe of the Virgin Mary. Other blue that was made of copper and blood was used for their most valuable porcelains. Each mixture of blue had its own worthiness.
Finlay uses process analysis in the chapter “Green” on Pg. 277 when stating, “the bark would be boiled for several days and then a length of cloth would be thrown into the mixture. Several days later the cloth-now brown- would be removed from the bark broth in the evening, and left to dry through the sunshine of the next morning.” The process is very lengthy so I did not include everything. She’s detailing this specific process to inform us of the complicated process to make green. The French and Chinese would often make green but with a simple process. The process shows the complexity in finding the right mixtures and process to make green which would then be sold for extraordinarily high prices.
The rhetorical model of division/classification was used in Finlay’s chapter, “Yellow”, when she mentioned, “In animal life, yellow- especially mixed with black -is a warning.” (pg. 203). This quote involves division/classification because she is explaining that yellow is not simply just a color, but it has greater meaning behind it when it is being used. For example, she relates the color of yellow having a huge meaning if a type of animal and/or insect having yellow mixed with black is probably poisoned and falling into a category of power and control due to it being vicious.
ReplyDeleteThe rhetorical model of compare/contrast is being explored in the chapter, “Green”. Finlay states, “It shows a couple standing inside a richly furnished room; they are holding hands but to me they do not look as if they are in love” (pg. 268). Furthermore, Finlay mentions that it is the opposite due them facing different directions and looking old with sadness. In that being said, the comparison is that it is the painting was supposed to be symbolizing that the couple are in love but, she starts to analyze every detail. She contrasts the idea of them being in love and believes that they are unhappy and seem to be shivering because of the cold and not really in love. Finlay probably had made this conclusion because of the weather being cold. The point I think she is trying to make by comparing and contrasting is that there is more meaning behind everything.
In the chapter, “Blue”, Finlay mentioned, “That corner was probably blank because the paint had not arrived from the patron- and the twenty-five-year-old artist could never have afforded to pay it himself” (pg. 280). This quote analyzes the process of steps being involved because she is explaining how a painting of the Virgin Mary was unfinished and probably was intended to be such a great painting but the painter was not able to complete it due to some issues he may have had during the process when he was painting. She detailing the specific process to explain why the color blue was missing on the robe of the Virgin Mary, so it can be understood by giving a process to the reader how a color has its significant huge meaning when it is missing.
In chapter "Blue," Victoria Finlay uses division/classification in describing two types of blue. She says, "But azurite is a byproduct of copper mines, and it is the sister stone of malachite. So it naturally tends toward the green side of the spectrum, whereas ultramarine veers towards the violet." In the following sentence she express the difference between the two blues and put them into different categories according to how artist uses them.
ReplyDeleteIn chapter “Green” Victoria Finlay compares and contrasts the different recipes used to create the color green. She compared the color outcome of the Persian, European, and Chinese recipes. They all produced a similar pistachio green color found in all their paintings. The contrast was the ingredients used to compose the color in some of the recipes. The text provided recipes similar to the European and Chinese, showing the difference being a sheep-milk yogurt as an ingredient.
Victoria Finlay uses chapter “Blue’ with analyzing when she describes the ultramarine, when she says the word sounds like it always seemed to her to taste like the ocean. She follows the sentence with another by going into depth by describing it as smooth, salty sound and more. She not only just say the color, she analyze and describe what she sense about it as well.
Finlay uses division and classification in the “Blue” chapter when she writes, “My search for this one particular blue was to lead me to other blues as well.” (Page 281) She is making a clear distinction between the blue she was searching for and the blues she found while searching for that particular blue. Finlay then compares cows and sacredness in chapter “Yellow” by saying, “There was even the genesis of a movement to preserve the sacred cow – because in so many places the sacredness of cows had been forgotten. Cows were an important issue for many reasons, but a sense of nation identity was one of them.” (Page 216) This is a big point for her to make in this chapter because in western culture we don’t think about things of that nature, most people think of cow in agricultural aspects. In “Green”, Finlay used process analysis in the following quote, “In the chilly autumn day, thousands of porcelain pieces as green as peaks appear from the kilns,” wrote Tang dynasty poet Lu Guimeng, in mi se lines that so intrigued later scholars, and which perhaps gave a clue as to what this celadon was about. The color comes from a small amount of iron: the more iron the more green, and this ware is particularly iron heavy. Most celadons are made of a glaze with about 2 percent iron; mi se has about 3 percent. Anything higher than 6 percent is black, and was not appreciated until much later in Chinese history.” (Page 256) In this, not only does she explain what percent of iron is needed she explains how easily it is to get to another color by changing it just by a tiny percentage.
ReplyDeleteFinlay uses division/ classification in chapter “Yellow” as she divides the color yellow in different forms such as the “Indian Yellow” and “Saffron”. In each title Finlay discusses different aspects of yellow color. In “Indian Yellow” she shares her story as she heads out on a journey to find out the origin of color yellow in India. She was trying to confirm the story that Mr. T.N. Mukherjee had written in his letter to Society of Arts in London describing that yellow is produced from the urine of cows upon being fed mango leaves which was making the cows sick to death (p. 204). She further enhances the ambiguity of yellow color through the rich and elegant spice –saffron. She discusses that this spice is very expensive, but worth its price. On one hand she classifies yellow as a sad color because it was related to the death of cows and the other she celebrates the richness of yellow color of saffron and mentions how it is demanded by all (p. 222).
ReplyDeleteIn “Blue” Finlay describes the process of obtaining paint from the stone Lapis lazuli. He compares this process with baking and therefore refers to the color-maker as a baker or artist- cook. He goes in to describing how the baker, in this case color-maker, takes three days to lovingly knead its dough obtained from powdered lapis, resin, wax, gum and linseed oil and further coax out the blue by placing it in bowl of lye or water where he presses and squeezes it with two sticks for hours. This process is continued until a saturated blue liquid is obtained which is then separated into a clean bowl so it can become powdery pigment and started again with same ball of resin, but this time using fresh lye. He states that this process of obtaining paint from the stone removes all the impurities delivering two sets of pressing. First “a virgin’s pressing for a virgin’s gown” and the second “less beautiful and less valuable called “ashes”” (p. 290-291). He analyzes the paint forming process and also compares and contrasts the color-maker to a baker. Finlay analyzes this process to show his readers that making paint is a tedious process. She had been searching for the stone, and once she found it she wanted to emphasize on its process of becoming paint. She believes it is a form of art that lays at the hands of its maker and that is why she refers to the color-maker as “artist- cook”. She compares the color-maker to a cook to further prove the point that color making requires love like cooking.
In the chapter "Yellow," Finlay uses the rhetorical mode of process analysis and division/classification by detailing the specific reason why there are two types of gamboge yellow. She first explains that the pure gamboge yellow is harvested by cutting a semi circular gash into the Garcinia hanburyi tree, inserting a piece of bamboo and allowing the sap to seep out over a year. She then goes on to explain that wartime gamboge is full of imperfections and dirty, because during wartime people go around picking up whatever sap has mixed into the soil, due to the trees getting cut open or exposed.
ReplyDeleteTowards the end of the chapter "Green," Finlay uses the rhetorical mode of compare and contrast, with regards to dyeing cloth. "Green had never been an easy color for them, and it tended to require them dipping cloth into two vats- a blue one and a yellow one. Together with the problem of adding mordants and getting the right temperatures and concentrations, all this dipping meant that the chance of getting the same shade twice was fairly low." As opposed to the process of using Lo Kao, or Chinese Green, which "went along the lines of: Put mud in pot. Boil. Add cloth to pot. Clean and dry." She uses this comparison to further explain why Lo Kao was so valuable and revolutionary at the time.
"It [yellow] is the color of pulsating life--of corn and gold and angelic haloes--and it is also at the same time a color of bile, and in its sulphurous incarnation it is the color of the Devil" (p. 203). The larger point that she is trying to make through comparing and contrasting is that no color like yellow gives the the most mixed messages of all.
ReplyDelete"'Too much Saffron [tea] being taken prevents Sleep, but when taken with Moderation, tis good for the Head, revives the Spirits, expels Drowsiness and makes the Heart merry,'" "Mix it [saffron] in wine...and it is a wonderful hangover cure," "'They eat it for strength, particularly during Ramadan,'" and "'Arabs say that saffron is good for...' and he paused a little awkwardly. 'Sex?' I asked, forgetting to be Islamiically demure. 'Er, yes,' he said" (p. 239-240, 241, 242). She develops these categories by pointing out that saffron is used in tea for recreational purposes, to cure hangovers, added in foods for strength, and for enhanced sex.
"What happened? 'Economics,'" "'Mice,'" "La Mancha might be one of the centers of European production but Europe isn't where saffron is at right now.' And where is it at? 'It's all happening in Iran,'" "But that is the extraordinary thing: in Spain the saffron harvest has died out because it is traditional. In Iran it has revived because it is modern. In the past ten years Iran's production has soared from 30 tons a year to 170. Spain's has gone from 40 to 5" (p. 233, 234, 239). Finlay is detailing this specific process because she is detailing the steps leading up to a specific historical event of how Saffron's production has drastically moved from Spain, Europe to Iran, the Middle East.
Madison Alaine Tingey
ReplyDeleteDivision/Classification
In "Blue," Finlay explains how "Catholic priests change their vestments according to the occasion" (293). The occasions are represent by colors. Finlay gives examples of other ideas the colors represent, writing that "black explicitly represents death" (293).
Comparing/Contrasting
Finlay explains in "Green," that it is "acceptable to lop off a digit from" a spiritual/religious figure, while if someone keeps a body part of deceased loved one, it is considered strange or unsettling (262). Finlay finds this rather silly, however she uses this comparison as a segway to a story involving a piece of hair tat belonged to a political legend (263). This story involves her chapter's color.
Process
In "Blue," Finlay explains the process of using cobalt as "invisible ink" (296). She disuses that in "the seventeenth century people discovered its propensity to change color on heating... when the plain paper was help over a fire it would magically turn green where secret messages had been traced" (296). This is one example of Finlay analyzing a process that colors are used for throughout her book. She explains these processes in order to give colors history.
Finlay uses the rhetorical mode of division/classification in chapter 6 "Yellow" in the section titled "Gamboge and Orpiment". He separates these two colors from other forms of yellow and groups them together. In his description of these colors he relates them to death and madness. He strengthens the connection by recounting the events that led up to him giving a child a piece of Gamboge only to later discover that it was poisonous.
ReplyDeleteIn "Yellow", Finlay uses the rhetorical mode of compare and contrast in the section "Saffron". She compares and contrasts Saffron and Gamboge, saying that it's "red but its yellow; it is expensive but it is affordable; it can dry out your liver but it can make you roar with laughter; it has almost died out but it is produced in bulk. Unlike gamboge, however, saffron is frequently faked." She compares these two colors to depict the fact that while these colors are similar in both color and details, they have a severe gap in the difficulty to get ahold of; this exemplafies the value in even the slightest difference of color.
In "Green", Finlay uses the rhetorical mode of analysis by detailing beautiful creation of "crackle". To make it perfect, one must make it imperfect, "'You can't get it too wrong; but you have to get it just wrong enough'". She explains that crackle is made when the "body and glaze of the porcelain contract and expand at different rates in the kiln, creating a pressure on the outer surface." (pg. 248) Finlay details the process to portray the cultural processes and techniques of those who create the pieces.
1. The entire chapter of “Yellow” is a breakdown of the things the author has in her box on her desk and how those things where found and used. The box contained 5 items that are all used to make yellow paint, hence the title “Yellow.” The chapter is organized by explaining how each item in the author’s box came to be and why it is important. As the chapter progresses, the author makes it apparent that the intention of the stories are to describe the origin of the items as well as creating a time line for the overall story as a book.
ReplyDelete2. In the chapter “Green,” the author explains how the green pigment in wallpaper could have caused deaths due to the poisons features of the pigment. The arsenic in the pigment was thought to have caused a number of deaths and illness. Green pigment was very difficult to produce and it was typically done with corroded metal. On the opposing side, the author describes green as the most abundant of the “natural” colors the signifies life as in grass or trees. The bigger point that the author is trying to make is that nature does not want to be imitated so when the artist tried to create an artificial green, nature made it very difficult for them to achieve it properly.
3. In the chapter “Green,” the author describes the process of which Lo Kao was made. the author describes the process as “complex,” and proceeds to describe each step as through she needed to give evidence as to why she described the process in such a way.
Finlay uses division/classification in the chapter “Yellow” when it states, “No color has a near unambiguous symbolism, but yellow gives some of the most mixed messages of all. It is the color of pulsating life- of corn and fold and angelic haloes- and it is also at the same time a color of bail, and in its sulfurous incarnation it is the color of the Devil”. In this example Finlay breaks down the vision of yellow into different categories, in which she labels differently ranging from angelic haloes to the color of the devil.
ReplyDeleteFinlay uses compare/contrast in the chapter “Green” when it states “He said his eyes rejoiced at the beautiful bright arsenical paper, and when he looked at the abominable grays, hideous browns and dreadful yellows made with arsenic, he could not help thinking this would be the paper he should like to have in his room “ In this example, Finlay contrasts by describes the differences between the “beautiful bright” paper with the “hideous browns”. The larger point that she is trying to achieve is explaining the reason why Dr. Thudichum thought it was the perfect combination of differences that attracted him to the paper.
Finlay used process analysis in the chapter “Blue” when it states “As an ingredient of smalt-a pigment that had been made of ground-up blue glass since the 1500s-cobalt had been used in paint for years, but in its purer form it didn’t reach European paintboxes until the nineteenth century…”. In this example, Finlay describes the process of the making of cobalt, in which they had done in the past “since the 1500s”. She details this process because she describes how pure this color was, yet still wasn’t good enough to be used by European painters at that time until later when it was made into a pigment.
Finlay uses division/ classification in the chapter "Yellow"when she breaks down what the color represents. She quotes, " the information that he gave them may have been a little shocking to some of his journal readers, but what he told them was that Indian Yellow, which was also known as piuri, was made from the urine of cows fed with mango leaves." In this quote Indian Yellow is compared to piuri. Through out the rest of the chapter Yellow is being expressed.
ReplyDeleteFinlay uses compare/ contrast in the chapter "Green" when Finlay quotes " Some of he best celadons are deeply flawed. They have a deep spiders's-web pattern , or "crackle." which to some western states is rather strange- I hated it when i first saw it." Finlay is comparing the celadon to a pattern similar to a spider web and how it has the same texture.
Finlay used process analysis in the chapter "Green" when it states " The famen abbot had realized he had to take steps to save the finger relic from this rampaging Daoist ruler." In this quote is explained the process what they had to take steps to save the Mystery of the three fingers.
Another example of where Finaly uses division/classification is in chapter six “Yellow” on page 203 it says “In Asia Yellow is the color of power-the emperors of China were the only ones allowed to sport sunshine-colored robes. But it is also the color of declining power. A sallow complexion comes with sickness; the yellow of leaves in autumn not only symbolizes their death, it indicates it”. Finaly is using division to separate the different types of meaning of yellow. She indicates that yellow is not just a color, in Asia yellow symbolizes different things such as the color of power but it is also the declining power.
ReplyDeleteIn chapter called “Green” Finaly uses comparison in the following sentence “Once, this place was one of the most important Buddhist centers in China” (247). She is comparing how before the Famen temple use to be one of the most important temples but now it is not. People started losing their faith and a lot of other temples were build.
The rhetorical mode of process analysis is used in chapter “Blue”. In this chapter it talks about the process of how the Virgin Mary got the color of the clothes she is seem wearing. On page 292 it talks about how the Virgin Mary not always wore ultramarine. She starts off by saying that in Russian icons she was often seen in red but the Byzantine artist would usually paint her in purple. Then she explains how she ended with blue “So when, in around the thirteenth century, ultramarine arrived in Italy as the most expensive color on the market, it was logical to use it to dress the most precious symbol of the faith” (Finaly 293). She explain the process of how Virgin Mary ended up with the color ultramarine for her clothes.
1. Blue – division/classification
ReplyDeleteLapis lazuli figures heavily in Finlay’s chapter on the color blue as it is the source of the color ultramarine that Michelangelo used. When Finlay reaches the mines in Afghanistan where lapis lazuli is found she learns that this rock can be divided into “three main colors” (p. 281 in eBook). These are rang-i-ob (the most common and the color of the deep sea), rang-i-sabz (green), and surpar (“red feather”). Finlay uses this to illustrate the depth and subtleties available in a single color, blue, that comes from a single source, lapis lazuli. While these differences are not apparent when you first look at the stones, the more you look and pay attention, the more you will notice them and how incredible they are. (p. 281 in eBook)
2. Yellow – compare/contrast
In the chapter on yellow, Finlay compares and contrasts the traditional harvesting of saffron depicted in a documentary by Ebrahim Makhtari and the more modern methods of saffron harvesting used by businessman Ali Shariati. Throughout the book Finlay compares and contrasts traditional methods with modern methods as well as traditional paint color sources and synthetic paints in order to highlight our own struggles with the value and draw of tradition versus the ease and advantages of technology. The harvesting of saffron is one more way to help us reflect on our own feelings about this dichotomy using real examples in the world of color. (p. 219 in eBook)
3. Green – process
Finlay details many different processes involved in creating color throughout her book. One such process is that of making Lo Kao, or Chinese Green. The process to make this Chinese gunge was to first boil the bark from one of two types of buckthorn trees for several days, then cloth was thrown into the mixture for several more days, then the cloth was taken out and left in the sun for the first half of the day, followed by boiling the cloth again, collecting the green sediment that comes off the cloth, and finally drying out the sediment and packaging it for sale at very high prices. This process is then contrasted with the ease of using this packaged sediment to then dye cloth in Europe by boiling the sediment/mud in a pot, adding cloth, and then cleaning and drying the cloth. Finlay details this specific process to again highlight the difference between often times difficult and costly traditional methods of making dyes from nature versus the ease and affordability with which technology gives us synthetic dyes such as iodine green and methyl green. (pp. 254-255 in eBook)
Finlay uses division/classification in the Chapter "Blue" when she states "Perhaps this is because blue recedes into the distance- artists use it to create space in their paintings; TV stations use it as a background on which they can superimpose other footage-so it represents a place that is outside the normal life, beyond not only the seas but the horizon itself" (pg.286). Finlay classifies that the color "blue" is being used in all forms of being. In this sentence "blue" is resorted for a sense of purpose whether by an artist or a business.
ReplyDeleteIn the chapter "Blue" Finlay compares/contrast when she states "And there was another blue that traveled through the town the other way, from Persia and through into China... it came from mines in Persia-now Iran-and in English it was called "cobalt". Calling it "cobalt" is rather like calling it "goblin": in German fold legend Kobald was the name of a vicious sprite, who lived in the earth and resented intruders...so the European silver miners who often came across it hated it, gave it the name of a gremlin, and for centuries they threw it away before it ate their feet and attacked their lungs" (pg. 286). Finlay compares the color blue to a "goblin" and "gremlin". The color blue is followed in comparison along with something that is able to cause harm and defeat if came into contact with.
Finlay describes several modes of process throughout the chapter "green". For instance, "The paint was usually made, rather as a white lead was made, bu suspending metal-in this case copper- over a bath of vinegar. After a few hours the orange metal and red wine would combine to leave a green deposit" (pg. 267). Finlay describes the process of green pain being made. The process includes various ingredients as well as time segments.