JAIST Repository
https://dspace.jaist.ac.jp/

Title

中国伝統色彩調和に関するデジタル化の伝承方法及び応用の研究

Author(s)史, 良宇

CitationIssue Date2022-03

Type

Thesis or Dissertation

Text version

ETD

URL

http://hdl.handle.net/10119/17783

RightsDescription

Supervisor:宮田

一乗, 先端科学技術研究科, 博士

Japan Advanced Institute of Science and Technology

A Research on Chinese Traditional Color
Harmony Digitization Inheritance Method
and Application

SHI Liangyu

Japan Advanced Institute of Science and Technology

Doctoral Dissertation

A Research on Chinese Traditional Color
Harmony Digitization Inheritance Method
and Application

SHI Liangyu

Supervisor: Professor Kazunori Miyata
Graduate School of Advanced Science and Technology
Japan Advanced Institute of Science and Technology
Knowledge Science
March 2022

Written on the Wall at West Forest Temple
It’s a range viewed in face and peaks viewed from the side,
Assuming different shapes viewed from far and wide.
Of Mountain Lu, we cannot make out the true face,
For we are lost in the heart of the very place.
Su ShiTranslate by Xv Yuanchong

Different Views, Make Difference.

ABSTRACT
Chinese Traditional Color Culture（CTCC）has a history of thousands of years. The Chinese traditional color system
is complex and huge, it had derived the world-famous Dunhuang Mogao Grottoes murals, tri-color glazed pottery of Tangdynasty, blue and white porcelain, Tibetan Thangkas, colorful folk crafts, etc. It has great influence and value in the fieldof art throughout China and the world. Traditional color culture is an indispensable part and important social element in
the development and change of every social stage. The changes in various social stages have inherited and developed the
traditional color culture of the previous society. But the CTCC as intangible cultural heritage is too complex to understandand usage in the real project, it required lots of professional knowledge that is an uneasy thing for most people. To bebetter make people comprehend CTCC, and make it easy to use. Accordingly, to inherit the CTCC and CTCH, it should
be studied with scientific theories and principles, it needs to cater to the aesthetic and mentality requirements of society
and people, it needs to meet the need of development of age and era, and using it should be practice with new techapproach.
This study intends to make art and aesthetics with a scientific approach. The purpose of this research is to inherit
Chinese traditional color culture. The objective of this dissertation is to inherit Chinese traditional color harmony (CTCH)
with digitization manner. This dissertation aims to present the method of digitization of inheritance and application for
the CTCH that contains conservation, improvement, development (CID) which can be a circulation system. Strikingly,
the contents of this research are based on theory and principle from the tradition which is the root of the culture for future
innovation.
The CTCC is an intangible cultural heritage, how to protect and conserve it that is a hard problem. Digital processing
technology is an important means of information preservation. The first contribution is the proposed extraction approachwith a digitization color scheme for Chinese traditional artwork. The research work takes the Chinese traditional color
scheme (CTCS) as the research objective, combined with color science, to build up the method to extract and record
CTCH via the dataset. Based on the CTCS results and evaluation from the method of this work, are more suitable forcognition degree and aesthetic of participations compare with others` methods.
The CTCH has a history of thousands of years, it has strong historical characteristics, and it needs to be integrated
into modern society in a new way. The second contribution is the proposed improvement approach that is based upon the
deep learning method for the CTCH, with the common aesthetic preference of contemporary people. In the viewpoint ofresearch that the CTCC should meet the needs of the development of the times, cognitive, and aesthetic characteristics oficontemporary people. To achieve the goal, research work had built up the model and architecture which were used forthe generation and optimization of CTCH had been proposed.
As tacit knowledge, CTCC and CTCH are hard to comprehend for most people, it needs to be transformed througha process that can offer an easy way for people to understand. The third contribution is proposed the development methodwith two kinds of interactive system which is included approach of web color matching application and VR learning.
First, the website interactive color matching system had been proposed which is the case of high-speed railway. Second,
the VR interactive learning system had been proposed. Via this part, the CTCH color scheme application is based upon
the CTCH dataset, aesthetic perceptual factors, and knowledge model had been explored that, how to use the CTCH inpractice way with applications.
Finally, based upon four parts of the work, a novel inheritance method named the CID systematic method had been
constructed. The method is based on the combination of theoretical methods and practical methods. Through each part ofthe evaluation which testifies the CID approach is successfully achieved the research aim set in begin of this work. This
research is both deepening Chinese traditional aesthetic theory and expansion of the practice and application approachfor CTCH. More importantly, the CID method is not only suitable for CTCC and CTCH but also can provide a reference
for related color culture research. Nevertheless, inheriting CTCC and CTCH is the long way demand to go further anddeeper, it is also required supplement and enrichment by related disciplines and fields. It is hoped that more and morecultures and civilizations in the world will be conserved and usage that no matter how small it is, they are all significant
cultural heritages and important knowledge of mankind, that are the source of innovation and foundation for future.
Keywords: Inheritance Method; Aesthetic Renew; Color Scheme Harmony; Color Scheme generation andoptimization; Interaction System;ii

ACKNOWLEDGMENTSFirstly, I would like to express my heartfelt thanks to my supervisor, dear Miyata sensei,
for his advice and suggestion in several key periods for me, and his affirmation of the major
research direction, and given me such an opportunity to learn the knowledge from different
disciplines. I still remember the famous words in Chinese on the office door of Miyata sensei,
学而不思则罔,思而不学则殆. I also remember when I asked Miyata sensei if colors could be
regarded as my research direction, the affirmative answer he gave me, and said in Chinese, let'sfight together. But due to the COVID-19 epidemic, until the dissertation complication, I stillcan`t return to JAIST, but Miyata sensei always supply me with great suggestions, help, andaffirmation. I`m a person who is not good at words and speaking, I gratitude the care andunderstanding from Miyata sensei for a long time, I will always remember this kindness for the
rest of my life.
Secondly, I would like to thank dear Yuizono sensei for his guidance on the minor researchand suggestions on the imperfections of the content, as well as dear Nishimoto sensei,
suggestions for this research. Meanwhile, thanks to many professors in JAIST, that are Fujinami
sensei, Kim sensei, Xie sensei, etc. Their class and lecture had made me know lots of useful
methods and knowledge that was helpful to me. On the other hand, also thank several professors
who gave much support during the COVID-19 period in China.
Thirdly, I would like to thank the many classmates in Japan, who had given me much help
and assistance. Without that, I couldn't get into my early campus life and some of the things I
couldn't deal with when I wasn't in Japan. Thanks to the student who assists part work of data
operation. Thanks to all the participants who provided experimental data for this study. Due toit need huge experimental data, without their assistance and help this dissertation can`t be
finished and show this workout.
In the end, my sincere thanks to my parents for that encouragement and eternal support
for my study and daily life. I thank my other family members for their support throughout my
doctoral study and my life in general as well. Thanks to myself who have persisted for three
years, thank you for the company over the past time, and continue to hard work in the future.

iCONTENTS

ABSTRACT ............................................................................................................................... i
ACKNOWLEDGMENTS .......................................................................................................... i
CONTENTS .............................................................................................................................. ii
LIST OF FIGURES ................................................................................................................ viii
LIST OF THE CHART............................................................................................................. xi
LIST OF ABBREVIATIONS .................................................................................................. xii
CHAPTER 1 Introduction ......................................................................................................... 1
1.1 Background ................................................................................................................. 2
1.1.1 Historical Review of Chinese Traditional Color Harmony .............................. 2
1.1.2 Global Review of Digitization Culture Heritage .............................................. 7
1.2 Complexity Questions ................................................................................................. 9
1.3 Research Questions ................................................................................................... 12
1.4 Definition, Motivation, Objective, and Aim .............................................................. 13
1.4.1 The Definition of Color Harmony in Chinese ................................................ 13
1.4.2 The Definition of Color Harmony in Modern ................................................ 13
1.4.3 The Definition and Motivation of Research ................................................... 13
1.4.3 The Objective and Aim ................................................................................... 14
1.5 Method Overview ...................................................................................................... 14
1.6 Novelty ...................................................................................................................... 15
1.6.1 The Method for Digitalization Features of CTCH.......................................... 15ii

1.6.2 The Architecture and Model for Generation and Optimization CTCH .......... 16
1.6.3 The Interactive Application and Development Method for Inheriting CTCH 16
1.7 Contributions for Knowledge Science....................................................................... 17
1.8 Outline and Structure................................................................................................. 18
CHAPTER 2 Literature Review .............................................................................................. 21
2.1 Review for Digitalization .......................................................................................... 23
2.1.1 Chromatology ................................................................................................. 23
2.1.2 Colors Quantization Approach ....................................................................... 24
2.2 Review for Aesthetic Definition and Evaluation ....................................................... 25
2.2.1 Aesthetic and Perception ................................................................................ 26
2.2.2 Color Perception and Color Scheme .............................................................. 28
2.2.3 Aesthetic Models ............................................................................................ 29
2.2.4 Color Scheme Generation and Optimization .................................................. 30
2.3 Review for Application Approach ............................................................................. 32
2.3.1 Cognize, Synaesthesia, and Factor of Color Harmony ................................... 32
2.3.2 Sensibility and Perceptual Factors .................................................................. 33
2.3.3 Human-Computer Interaction ......................................................................... 34
CHAPTER 3 Methodology ..................................................................................................... 36
3.1 Research Design ........................................................................................................ 37
3.2 Methods ..................................................................................................................... 39
3.2.1 Literature Review and Bibliometric Analysis ................................................ 40
3.2.2. Research Ideal ............................................................................................... 44
3.2.3 Research Model .............................................................................................. 44iii

3.3 The Objective and Participant ................................................................................... 47
3.3.1 The Objective ................................................................................................. 47
3.3.2 the Participant ................................................................................................. 48
3.4 Procedures ................................................................................................................. 48
3.4.1 Conservation Method ..................................................................................... 48
3.4.2 Improvement Method ..................................................................................... 48
3.4.3 Development Method ..................................................................................... 49
3.5 Data Collection Approaches ...................................................................................... 49
3.5.1 Online Collection............................................................................................ 49
3.5.2 Offline Collection ........................................................................................... 52
CHAPTER 4 An Extraction Approach of Chinese Traditional Scheme Colors Based on Chinese
Traditional Artwork ................................................................................................................. 54
4.1 Introduction ............................................................................................................... 55
4.2 Research Method ....................................................................................................... 57
4.2.1 Research Sample ............................................................................................ 57
4.2.2 Color Visualized and Standardized ................................................................. 59
4.2.3 Sample of Extraction Data .............................................................................. 60
4.3 Color Scheme Extraction ........................................................................................... 61
4.4 Evaluation .................................................................................................................. 62
4.4.1 Subjective Evaluation ..................................................................................... 62
4.4.2 Objective Evaluation ...................................................................................... 64
4.5 Result ......................................................................................................................... 66
4.5.1 Image Segmentation Result ............................................................................ 66
4.5.2 Image Extraction Result ................................................................................. 66iv

4.5.3 CTCS Extraction Web Tool ............................................................................ 67
4.6 Discussion and Limitation ......................................................................................... 68
4.7 Conclusion and Future Work ..................................................................................... 68
CHAPTER 5 Contemporary Chinese Traditional Color Harmony Aesthetic Renew Based on
the Deep Learning Approach ................................................................................................... 70
5.1 Introduction ............................................................................................................... 71
5.2 Research Method ....................................................................................................... 74
5.2.1 Research Sample Section ............................................................................... 75
5.2.2 Research Subject ............................................................................................ 75
5.2.3 Research Mode Architecture .......................................................................... 76
5.3 Research Process ....................................................................................................... 77
5.3.1 Aesthetics Perception and Color Scheme Extraction...................................... 77
5.3.2 Assessment of the Color Scheme.................................................................... 79
5.3.3 Color Scheme Optimization ........................................................................... 81
5.4 Result and Evaluation ................................................................................................ 82
5.4.1 Result of Aesthetics Perception and Color Extraction .................................... 82
5.4.2 Result of Color Scheme Evaluation................................................................ 83
5.4.3 Result of Optimizing the Color Scheme. ........................................................ 84
5.5 Discussion and Conclusion........................................................................................ 85
CHAPTER 6 An Interaction Web-Application of Chinese Traditional Color Harmony: The Caseof High-Speed Railway ........................................................................................................... 86
6.1 Introduction ............................................................................................................... 87
6.2 Research Method ....................................................................................................... 89
6.3 System ....................................................................................................................... 90v

6.3.1 Operation Logic .............................................................................................. 90
6.3.2 Algorithm Model Architecture........................................................................ 90
6.3.3 Model Structure .............................................................................................. 90
6.4 Experiment ................................................................................................................ 91
6.4.1. Participants .................................................................................................... 91
6.4.2 User Operate Progress .................................................................................... 92
6.5 Evaluation .................................................................................................................. 93
6.5.1 Objective Evaluation ...................................................................................... 93
6.5.2 Subjective Evaluation ..................................................................................... 94
6.6 Results ....................................................................................................................... 95
6.6.1 Original Scheme and Optimized Scheme ....................................................... 95
6.6.2 Dominant Tone and Minor Tone ..................................................................... 96
6.7 Discussion and Limitation ......................................................................................... 97
6.8 Conclusion ................................................................................................................. 98
CHAPTER 7 A Virtual Reality Interaction Learning Application of Chinese Traditional Color
Harmony ................................................................................................................................ 100
7.1 Introduction ............................................................................................................. 101
7.2 Design Ideal, Concept, and Principle ...................................................................... 102
7.2.1 Knowledge Transformation .......................................................................... 102
7.2.2 Aesthetic and Color Scheme ......................................................................... 103
7.2.3 Design Principle ........................................................................................... 104
7.3 Research Method ..................................................................................................... 105
7.3.1 Semantic Relation ......................................................................................... 105
7.3.2 The System ................................................................................................... 107
vi

7.4 Interaction Experiment ............................................................................................ 108
7.5 Evaluation ................................................................................................................. 113
7.5.1 Objective Evaluation ..................................................................................... 113
7.5.2 Subjective Evaluation .................................................................................... 118
7.6 Discussion and Limitation ....................................................................................... 120
7.7 Conclusion ............................................................................................................... 121
CHAPTER 8 Conclusion, Implication, Limitation, and Future Work................................... 122
8.1 Conclusion and Implication ..................................................................................... 123
8.2 Limitation ................................................................................................................ 126
8.3 Future Work ............................................................................................................. 126
Appendix Ⅰ 164 Chinese Traditional Colors .......................................................................... 128
Appendix Ⅱ Brain wave results of cases of chapter 4. .......................................................... 131
Appendix Ⅲ The Instructions of chapter 6 ........................................................................... 137
Bibliography .......................................................................................................................... 140
Publication List...................................................................................................................... 148

vii

LIST OF FIGURES
Fig. 1-1 History Timeline .................................................................................................. 3
Fig 1-2 Yin-Yang and Five Elements ................................................................................ 4
Fig. 1-3 Patron Saint .......................................................................................................... 5
Fig 1-4 Problems of Oxidation, Color Fading, and Damaged. ........................................ 10
Fig. 1-4 Research Logical Sequence ............................................................................... 15
Fig. 2-1 Structure of Literature Review........................................................................... 22
Fig. 2-1 Harmonious Collocation .................................................................................... 30
Fig. 3-1 Research Thinking Process ................................................................................ 37
Fig. 3-2 the Literature result of keywords ....................................................................... 41
Fig. 3-3 Keyword Co-Occurrence Network .................................................................... 42
Fig. 3-4 Timeline of Keyword Clustering ....................................................................... 43
Fig. 3-5 Methodology Model and Data Flow .................................................................. 45
Fig. 3-6 Online Experiment Location Distribution of the Participant ............................. 48
Fig. 3-7 Chapter 4, Results Comparison and Evaluation................................................. 50
Fig. 3-8 Chapter 6, System Satisfaction Survey .............................................................. 50
Fig. 3-10 Chapter 7, Semantic Relationship between CTC and TP ................................ 51
Fig. 3-12 Chapter 4, Color Extraction Website ............................................................... 51
Fig. 3-13 Chapter 6, High-Speed Railway Interaction Website ...................................... 52
Fig. 3-14 Part of Offline Experiment Photos ................................................................... 52
Fig. 4-1 Part of the Sample .............................................................................................. 58
Fig. 4-2 Transform Procedure.......................................................................................... 60

viii

Fig. 4-3 The Sample with Extraction Process ................................................................. 61
Fig. 4-4 Part of the experimental webpage ...................................................................... 63
Fig.4-5 The VIVE pro and LOOXID .............................................................................. 65
Fig. 4-7 Image segmentation results ................................................................................ 66
Fig. 4-8 The Results ........................................................................................................ 67
Fig. 4-9 Color Scheme Extraction Webpage ................................................................... 68
Fig. 5-1 Harmonious Collocation .................................................................................... 72
Fig. 5-2 Traditional Painting Cases .............................................................................. 73
Fig. 5-3 Results of Reproduction..................................................................................... 75
Fig. 5-4 Architecture........................................................................................................ 76
Fig. 5-5 Visualization in Procedure ................................................................................. 79
Fig. 5-6 The Architecture of The NIMA Network ........................................................... 80
Fig. 5-7 Color Scheme Enhancement Network ............................................................... 81
Fig. 5-9 Five-Color Scheme Scores................................................................................. 82
Fig. 5-8 The Test Results ................................................................................................. 82
Fig. 5-10 Predictive Score Distribution of the NIMA Model .......................................... 83
Fig. 6-1 Railway Model Structure ................................................................................... 91
Fig. 6-2 User Operate Progress ....................................................................................... 92
Fig. 6-4 Visualization Reproduction of the User Data .................................................... 96
Fig. 6-5 Dominant Tone and Minor Tone ....................................................................... 97
Fig. 7-2 Procedure Process ............................................................................................ 105
Fig. 7-4 CTC and CTP Experimental webpage ............................................................. 107
Fig.7-5 The VIVE pro and LOOXID ............................................................................ 108ix

Fig.7-6 The Controller ................................................................................................... 108
Fig.7-7 the models……………………………………………………………………..109
Fig. 7-8 the scenes 108…………………………………………………………………110
Fig.7-9 function of each part in scene…………………………………………………..111
Fig. 7-10 Case with The Sample and Brain wave UI…………………………………...112
Fig. 7-11 The Sample with a Brain Wave User Interface………………………………113
Fig. 7-12 Interaction System Satisfaction Survey………………………………………117

Figures reproduced sources
Figure 1-3 Patron Saint.
https://img.alicdn.com/imgextra/i3/4033730562/O1CN01psBaaM1G1RHqIEdnX_!!4033730
562.jpg
Figure 2-1 Harmonious Collocation form (https://paletton.com/).
Figure 5-1 Harmonious Collocation form (https://paletton.com/).

xLIST OF THE CHART
CHART. 4-1 Extraction Method Compare ……………………………………………61
CHART. 5-1 Five-Color Scheme Scores………………………………………………76
CHART. 6-1 The Score of Original Results and Optimization Results ……………....87
CHART. 6-2 Operation Time Comparison ……………………………………………87
CHART. 6-3 System Subjective Evaluation …………………………………………..88
CHART.7-1 Scene 1 Attention Rate Data…………………………………………….112
CHART.7-2 Scene 1 Attention Rate Data…………………………………………….112
CHART.7-3 Scene 1 Attention Rate Data…………………………………………….112
CHART. 7-4 Mean Score of Scene One………………………………………………113
CHART. 7-4 Mean Score of Scene Two………………………………………………113
CHART. 7-4 Mean Score of Scene Three……… …………………………………….113
CHART. 7-5 Mean Score of Scene Four……… ……………………………………..114xi

LIST OF ABBREVIATIONSCID: Conservation, Improvement, and Development.
CTCC: Chinese Traditional Color Culture.
CTCH: Chinese Traditional Color Harmony.
CTCS: Chinese Traditional Color Scheme.
CTAW: Chinese Traditional Art-Work.
CNKI: China National Knowledge Infrastructure.
CL: Colour_Lover website.
GB/T 31430-2015: Names and colorimetric characteristics of traditional colors in China.
GB/T 3977-2008: Specification of colors.
GB/T 7921-2008: Uniform color space and color difference formula.
GAN: Generative Adversarial Networks.
HSR: China's high-speed rail.
KE: Kansei Engineering.
HCI: Human-computer Interaction.
MRQ: Major Research Question.
NIMA: Neural Image Assessment.
SRQ: Subsidiary Research Questions.
VR: Virtual Reality.
WOS: Web of Science.
WGAN-GP: Wasserstein GAN Gradient Penalty.

xii

CHAPTER 1 Introduction

1.1 Background
1.2 Complexity topic
1.3 Research questions
1.4 Objective and Aim
1.5 Method Overview
1.6 Novelty
1.7 Contributions for Knowledge Science
1.8 Outline and structure1

Overview
Chapter 1, describes the general content of the dissertation. It begins by reviewing thehistorical background and internal relationship of CTCC and CTCH and declaring its
development in the context of the timeline. Thereafter, it expounds on the phenomena andsummarized problems existing in the contemporary CTCC, and obtains the CTCC and CTCH
questions that this dissertation will be solved. Subsequently, illustrate the macroscopical level
method for this study. then, a brief description of the innovation of the research. Finally, thechapter ends by reviewing each chapter of the outline structure of the dissertation.

1.1 Background1.1.1 Historical Review of Chinese Traditional Color Harmony
The power of intangible cultural heritage is noble, it is closely connected with natural
culture, it is deeply combined with national root culture, and it protects the seeds of humanculture. The birth of the list of intangible cultural heritage around the world shows that mankind
has promoted the significance and value of national culture to the human level (Xiang, 2018).
It indicates that mankind has realized that intangible cultural heritage as a living cultural
heritage is the knowledge source of human cultural innovation and the importance of cultural
identity and sense of history. The history timeline is shown in Figure 1-1.
As an intangible cultural heritage, CTCC still shines brightly after wind and rain. CTCC
has a history of thousands of years which can be date back as early as 1600 before the Common
Era (BC),(T.-R. Lee, 2012). Chinese traditional color harmony (CTCH) is an important part ofChinese traditional color culture (CTCC) which is the formation and theoretical basis. And theFive-Elements-Theory is one of the significant concepts in CTCH theory. It is a cultural modelof Chinese civilization in the aesthetic concept (X. Zhang et al., 2012). Nowadays, CTCC and
CTCH still have a far-reaching impact on contemporary CTCC and Asian color culture (Ishaiet al., 2007).
Since the official etiquette system was formed in the Zhou Dynasty (1046 AC-256 BC),
the Chinese traditional concept of color harmony and the color system has been graduallyformed, but it is the prototype conception. The principle of the CTCH is derived from the2philosophy of Yin-Yang and Five-elements aesthetic theories which is the foundation aesthetic
theory of CTCC.

Fig. 1-1 History Timeline

In the Spring and Autumn and Warring States period (770 BC), the color culture of
Confucianism and Taoism formed the embryonic form of people's understanding of color, andthe theory of Yin-Yang and Five-elements was also born in this period and became thetraditional philosophical basis of the aesthetics of the Five-elements, The Yin-Yang, and theFive Elements as shown in Figure 1-2. With the rise of the Yin-Yang and Five- elements theory,
CTCC gradually presents a diversified development trend, changing from a simple color
3decoration purpose to a functional and symbolic purpose. The Chinese ancients believed that
all things in the world were created by five basic elements, namely, the water, the fire, the wood,
the metal, and the earth. The Chinese ancients think that the Five-elements were the five kinds
of foundation that produced the origin of all-natural things.

Fig 1-2 Yin-Yang and Five Elements

Philosophy relationship between the color and the law of natural movement of heaven is
gradually established, the theory of Five-colors is formed. In the conception of the Five-element
color concept, the Five-colors refer to the five kinds of categories, which are usually expressedas blue, red, yellow, white, and black, those category called(M. S. Lee et al., 2012). In

traditionally five-element aesthetics, the intermediate color is created by blending other colors
through various levels of the black color and the white color, even the black and the white itself
can be subdivided in the various level that involved different aesthetic and philosophicalmeanings (D. Hu, 1995). To achieve the change of color brightness, purity, saturation, and thenproduce different approaches to the color scheme.
BC 221, Emperor Qin unified China and founded the Qin Dynasty. During this period,
CTCC iconicity was further extended, following the rule that the ancient people's observationof things and the formation of the image of things give the color scheme a deeper meaning. The
4

symbol is expressed by the image formed by the color combination, which is like the change ofseasons and the definition of orientation. Spring is Qing-Yang color, the direction is mainly east,
the patron saint is Qing-Long (God of the Dragon). Summer for Zhu-Ming color, the directionof the main south, a patron saint is Zhu-Que (God of the Phoenix); Autumn is plain whiteautumn color, the direction of the main west, the patron saint is Bai-Hu (God of the Tiger);
Winter for Xuan-Dong color, the direction of the north, the patron saint is Xuan-Wu (God of
the Tortoise) (L. Chen et al., 2014), the Patron Saints are shown in Figure1-3. Among them,yellow is respected as the orthodox color, regarded as the lord of color, on top of all colors, andrepresents the color of the earth, and gradually evolved into a symbol of royal power. Some ofthese cultural phenomena are continued in contemporary Japan. This conception of CTCH
which is the combination of the Yin-Yang theory and Five-elements has deeply influenced
CTCC and Asian color culture (Ishai et al., 2007).

Fig. 1-3 Patron SaintDuring the Han Dynasty (202 BC-220 AC), color harmony of five-element aesthetics had
been built up by the color combination of elementary color and intermediate color on aesthetic
5style. The color scheme of the Han dynasty mainly followed the CHU culture which is one
country of Spring and Autumn and Warring States period (770-221 BC), and the specific color
use was Black and Red as the elementary color. with yellow, gray, and silver as intermediatecolors. The overall color effect is chromatic and bright. At the same time, arise with theprosperity of Confucianism, Confucianism integrated and applied the concept of "harmony"
within colors, forming the early concept of CTCH, and the CTCH system took shape (Lin,2014).
Thereafter, during the WEI JIN Southern and Northern dynasties (220-589 AC), Buddhism
was introduced into China and flourished in the official and folk, and combined with Chinese
traditional Taoism and Confucianism, enriched the cultural connotation and philosophy of
CTCH. CTCH began to run through all fields of Chinese color aesthetic consciousness
gradually, from imperial etiquette to folk customs, and the development during this period had
a far-reaching impact on Chinese traditional color culture (C. Zhang, 2017).
During the Tang Dynasty (618-907 AC), with the prosperity of the Silk Road, CTCC and
CTCH developed further while integrating foreign cultural elements. Due to the introductionof exotic and western novel color matching methods, the hue and tone in CTCS during thisperiod changed from simple and gloomy to bright and gorgeous, full of strong exotic customs.
Such as, the Tri-colored glazed pottery and the five colors of the Tang Dynasty are brilliant andbright. In Dun-Huang grottoes frescoes, the elementary color is mainly red and brown, withcyan and black to add yellow, forming a richer color combination and visual effect, and contains
religious meaning (Abrams, 2021).
In the Song Dynasty (960-1279 AC), due to historical reasons, the ideology and culture
were far inferior to that of the Tang Dynasty. With the decline of national strength and theinfluence of Neo-Confucianism of Cheng and Zhu. the secluded and refined taste of aesthetic
was bred in the expression of harmonious colors. Accordingly, the murals in the Song Dynasty
were mainly in blue-green tones, in sharp contrast to the Tang dynasty.
Unfortunately, during modern times with the introduction of western learning and thechanges in modern Chinese history, CTCC and CTCH have gradually disappeared in theclassics, to inherit CTCC is the problem that needs to be solved. the application concept of
CTCC is scattered and unorganized and gradually disappears in the old paper inscriptions(Yunzhi, 2007). In addition, due to the restriction of historical conditions, the limitation of the6development of the scientific system, and the abstractness of philosophical and aesthetic
concepts, CTCC and CTCH inherit the essential problems (Kim, 1982).

1.1.2 Global Review of Digitization Culture Heritage
The concept of heritage covers the natural, cultural, and industrial domains and is acomprehensive account of historical development (UNESCO, 2021). Cultural heritage refers
to historical sites and expressions that have lasting value in contemporary society (UNESCO,1989). As human knowledge, cultural heritage has been transformed from a simple social
material heritage into a collective cultural memory constructed by the state (Type & Paper,2021). Digital heritage, which is technically intangible, consists of human knowledge or
expressive resources (UNESCO, 2018).
World Summit on the Information Society (WSIS) conference proposed that the future
information society should utilize and protect cultural heritage in all appropriate ways,
including digitization. Digital heritage focuses on material and intangible cultural heritage
items and their conservation, education, and research (Owens, 2013). Digital cultural
heritage refers to the various forms of expression of experiences designed to enrich,complement, or preserve heritage sites or objects of historical and cultural value as a result of
the effective use of digital computer technology (UNESCO,2021). Such as text, images,
sound, graphics, software, virtual objects, etc. (Communication, 2021).
The digitization of cultural heritage is an important measure of cultural heritage. In 2002,
the American Library and Information Resources Committee launched a survey of the North
American Digital Cultural Heritage Initiative. It helps to strengthen the coordinated strategy
formulation of digital cultural heritage strategy and its by-products (Background et al.,2003). European member States have carried out a wide range of activities in the field ofdigital cultural heritage to establish a data infrastructure dedicated to cultural heritage researchto achieve a road map for the preservation of digital cultural content (Fresa, 2013). A survey
describes the data of more than 1,000 libraries, archives, and related cultural institutions in
Europe, which records the current status of digitization of cultural heritage in Europe (Stroeker& Vogels, 2014).
Since the 1960s, the emergence and development of computer science and computer
graphics technology, has provided a new way for the digital protection and dissemination ofcultural heritage (Münster et al., 2019). Since the 1990s, people have used new technology to7

create a large number of digital content that includes digital images, digital video, digital sound,
digital art, and so on. The purpose of these digital materials is not only to preserve the content
digitally, but also to allow and expand access to it for researchers, students, and citizens. The
significant advantage of the digitization of cultural heritage is that data materials converted into
data form can provide real-time storage, processing, sharing, and transmission of information(Masciotta et al., 2021). In addition, the content of digital culture is reusable and easy toreuse (Fresa, 2013).
At the same time, with the popularization of the information model, graphics, 3Dvisualization, and virtual reality, the research ways of digitization of cultural heritage have beenpromoted. Computer science and the use of computer programs to record cultural heritage,
computer visualization technology has become an indispensable tool in the field of digital
cultural heritage (Evens & Hauttekeete, 2011). It provides a digital approach to cultural heritageand provides a description and explanation for the combination of reality and virtual. Digital
information is fundamentally reshaping the production, dissemination, use, and reuse of
information and knowledge in society. The preservation of digital cultural storage ensures theavailability of cultural heritage (Stroeker & Vogels, 2014).
Computer visualization can be used as a method and means to study and communicate
cultural heritage. It advocates the establishment of a set of scientific methods, and virtualmaterials need to have a set of metadata and interactive metadata to facilitate experts in different
fields to verify and evaluate them (Münster et al., 2019). In addition, the research on thedigitization of cultural heritage mainly focuses on three aspects, namely, collection,
preservation, and development. At the collection level, focus on filing, recording, inventory
compilation.
Digitally transform the cultural heritage and record the physical information of the object
comprehensively (Hall et al., 2012). The research at the protection level mainly involves
metadata, ontology, semantics, and preservation media. With the acceleration of the digitizationof cultural heritage resources, digital resources gradually form a large-scale development trend.
The project is an excellent example of its practical example in the digitization of cultural
heritage and metadata standardization, leading the digital transformation of cultural heritageand promoting cross-border cooperation and digital standard-setting activities in Europe (Fresa,2013). This digital conservation operation digitally stores monuments and sites. To ensure that
content in the form of data is saved and transmitted to future generations.
8In recent years, with the improvement of the performance of computer hardware and the
popularization of application, the digitization of cultural heritage, 3D model reconstruction, andinteractive application are on the rise. It has given birth to new concepts of digital cultural
heritage, such as digital heritage, digital archaeology, virtual heritage, a virtual museum, and soon. And gradually formed the research direction of cultural heritage informatics. In 1990, Paul
Reilly first put forward the concept of virtual archaeology, which promoted the transformationof the thinking model of digital cultural heritage. The research work of Stanco Filippo et al.
introduced the application of digital imaging of cultural heritage based on computer graphics,
analysis, restoration, reconstruction, and digital image processing of ancient works of art(Stanco et al., 2018). Leonardo Gomes, who has made an in-depth exploration in the field of
3D reconstruction, puts forward research on the method of 3D reconstruction for the digitalprotection of cultural heritage (Gomes et al., 2014).
The Inclusive Culture Heritage in Europe through 3D Semantic Modelling (INCEPTION)
project was launched in Europe in June 2015, which is based on web-based solutions andapplications, realizes efficient 3D digitization methods, and enriches post-processing tools forsemantic modeling. Through the identification of the semantic ontology of cultural heritage andthe data structure of information catalog, the semantic attributes and hierarchies are combined
to realize the data integration of a three-dimensional digital geometric model, and then toachieve the information management of cultural heritage.

1.2 Complexity Questions
1.2.1 Decentralization and Fragmentation
a. Historical dimension.

9

The historical dimension of CTCC spans a great chasm from each stage, and there aremany categories in each period. This also leads to the fact that relevant protectors andresearchers only study them from their respective disciplines, and it is difficult to form acomprehensive system. In addition, after the hundreds of years or even millennia of baptism,
many of the material matter that can be collected today are no longer in their prime. Equally,
due to the stability factors such as plants and minerals used in the production of pigments, thepreservation and protection of pigment of matters become more and more difficult with thepassage of time and the problems such as oxidation, color fading, and damage of pigment ofmatters (Song, 2019), such as shown in Figure 1-4.

Fig 1-4 Problems of Oxidation, Color Fading, and Damaged.

b. Literature and Context.
The limitation of the literature describing CTCC and CTCH is expressed in ancient
Chinese prose, and the relevant literature is mixed with traditional philosophical concepts
which are hard for non-professional background researchers (Hou, 2004). The names of colors
are named with moral meaning or image in a specific historical period, which is difficult tocombine with specific pigment substances and difficult to interpret and understand for thegeneral population and the general public (Louise, 2015). This is also one of the limiting factorsthat most Chinese traditional colors and CTCH are difficult to reproduce.
1.2.2 Lag and Backwardness
a. chromaticity dimension.
The existing Chinese traditional color system is finitude, for example, 625 colors are
involved in the 1957 chromatogram, which is the earliest available literature on the expressionof Chinese traditional color in modern times (http://zhongguose.com). The traditional Color of10

China, published by Japan in 1986, contains 320 colors (https://htmlcss.jp/color/china.html).
The DIC traditional Color of China contains 320 colors.
(https://www.colortell.com/colorbook/?callbook=s).
The Chinese national Color system, published in 1995, contains 1338 colors. The Chinese
national standard named "Chinese traditional Color names and chromaticity characteristics",
published in 2015 contains 164 colors. Most of these projects try to quantify the accuracy ofChinese traditional color, but up to now, there is still not a relatively perfect color matchingsystem of Chinese traditional color (Zeng, 2014). The reason is that the Chinese traditional
color culture is numerous and complicated, the span of the artistic style contained in thehistorical stage is intricacy and complexity, and it is difficult to divide the artistic stylecharacteristics of different periods. In addition, massive historical matters need to be recovered
and restored, and the main reason is that none of them can be used and referred to as the generalstandard of traditional Chinese aesthetics and can provide shared and constantly updated
quantitative data. Compared with the optics-based color research in the West, it lacks
systematization and professionalism (Kim, 1982)
b. Normative dimension.
Human cognition and practice of color have a history of tens of thousands of years.
However, the history of color that can be called science is a short time, especially the historyof the study of color harmony, harmony format, and formation from the scientific point of view.
Many country`s chromatics has formed the system of color theory and color application, suchas America, Pantone, and Munsell color system (Y. Wang, 2017). Japan, Practical Color
Coordinate System (PCCS) (Hsiao et al., 2017). Swedish. Natural Color system (NCS), etc.
(Hård & Sivik, 2001).
The research on color discipline in contemporary Chinese academic circles still tends tobe fragmented which is lack of comprehensive carding and precipitation, and Chinesechromatism has not yet taken the full attention of CTCC and CTCH in practice with theory(Zeng, 2014). In the application, it has not formed its mature color system and application
methods (Kim, 1982). Additionally, the work on CTCC is majority limited to theory research,lack of practical application research, more important is how to integrate all research results
and constantly improve and update the systematic results. Although in 2015, China publishedthe latest national color standard, called Names and colorimetric characteristics of traditional11

colors in China (GB/T 31430-2015), the Chinese traditional colors standard only involved 164
colors in it, which is far more enough for CTCH study, but relate work must follow this standard.
1.2.3 Stagnation and Conformism
Due to the long historical development and cultural accumulation, Chinese people haveformed a relatively fixed aesthetic tendency and aesthetic habits, and it also shows a relatively
fixed program in the use of color. Red is the respect and admiration color in Chinese culture,symbolizing auspiciousness, joy, progress, success, smoothness, beauty, etc. White symbolizes
death, bad omen, plain apparel, plain crown, and so on. Black is a solemn hue. On the one hand,
it symbolizes seriousness and justice; on the other hand, it symbolizes insidiousness, bitterness,and terror. This phenomenon began in the Zhou Dynasty, with the Qin Dynasty and Han
Dynasty centralized folk began to gradually continue and transmit the use of this color culture.
The aesthetic habit of CTCC has been deeply rooted in the hearts of the people (Du &Wang, 2019). Although the variety of colors has been continuously enriched for thousands ofyears, the psychological structure of national culture is relatively stable. Under the influence of
past times and social and cultural background, CTCC and CTCH have corresponding stability
and independence. As the proverb says, every coin has two sides, and CTCC and CTCH is not
the exception, is has both advantage and disadvantage. This also leads to the problem of CTCC
and CTCH curing. In addition, due to the education of traditional color culture, spread,
popularize is far-more enough, and CTCC and CTCH knowledge is only limited in specificareas of the researchers and people. That leads to the masses using CTCC and CTCH withmistakes or misuse.

1.3 Research Questions
To the summary the phenomenon above, and to solve and answer it this dissertation
involved one (MRQ) and three (SRQ) as follows:
MRQ: How to inherit and apply CTCC and CTCH with digital manners?
SRQ 1: How to establish the Digital Features of CTCH?
SRQ 2: How to make CTCC and CTCH cater to the aesthetic of contemporary humans?

12

SRQ 3: How to utilize CTCC and CTCH with reality and a practical approach that can makepeople use it and comprehend it?

1.4 Definition, Motivation, Objective, and Aim
1.4.1 The Definition of Color Harmony in Chinese
In Chinese, harmony has two characters, and its meaning is divided into two levels. 1 "调(TIAO)" means adjustment, conditioning, settling, arrangement, collocation, combination, etc.
2. "和 (HE)" The Harmony, peace, harmony, order, propriety, etc. Chinese Traditional color
harmony is influenced by the philosophy of "harmony between man and nature", and rushes up
the idea of harmony between humans and nature.

1.4.2 The Definition of Color Harmony in Modern
Color harmony refers to two or more colors, orderly, coordinated, and harmonious
organization together, can make people feel happy, happy, satisfying color collocation. The
theory of color harmony is the knowledge to explore the essence of beauty through the tonality
and relationship of colors. Colors seen together to produce a pleasing affective response aresaid to be in harmony (Nayatani & Sobagaki, 2002) Color harmony is the semantic and aesthetic
aspects of color, which is the phenomena that give color the psychological power (Ou & Luo,2006).

1.4.3 The Definition and Motivation of Research
In the view of this dissertation, the meaning of inheritance is the process of accumulation
and re-creation for knowledge. Humans are namely human because they create and accumulateknowledge while maintaining their survival and linebreeding. Generation after generation ofhuman beings create knowledge that belongs to their time and period, some of the knowledge
which is recorded in literature, preserved in practice, or taught in words, and passed on to thenext generation, opening the wisdom of the next generation. Enlighten the creation andproduction of knowledge. The creation and production of knowledge are continuously
continued and passed on from generation to generation. That makes the various culture caninherit with the process.
13

1.4.4 The Objective and Aim
As an intangible cultural heritage, CTCC and CTCH still shine brightly after wind andrain. CTCC has a history of thousands of years which can be date back as early as 1600 before
the Common Era. Part of CTCH begin a long time ago, part of it had missing, it needs a new
way to combine with modern. Accordingly, this research intends to use the scientific approach
to inherit and apply it. The objective of this research is to study CTCH with science manner
through CTCS. This dissertation aims to present the digitization inheritance methods andapplication, as the abstract that contains conservation, improvement, development for CTCH.

1.5 Method Overview
This dissertation is following the logical sequence, as shown in Figure 1-4.
Due to the complexity and multi-discipline of CTCC and CTCH, it needs to be solved
through a combination of the macro and micro levels step by step. Level 1, summarize thephenomenon, sorts out the problem, and the direction of solving the problem. Level 2, takesout the ways and approaches to solve the problem through literature review. Level 3, based on
the above two Levels, obtains the research approaches and content of this research. Accordingly,
the macro level which is the guidance outline for this study as the level 1, in the macrodevelopment process that included the research approach of Conservation, Improvement, andDevelopment (CID) methods which are level 2 and level 3.
For the micro level, the keyword is the data, the practice method of the whole dissertation,
it is mainly about the data level that is the systematic and cyclic processing flow. The meaningof the conservation method proposed in chapter 4 is to extract and quantify the data of CTCH.
The meaning of the improvement method proposed in chapter 5 is to optimize and reprocess
the original data. The development method is proposed with Chapter 6 and Chapter 7, which
provides the operation of data to make it to be renewable data that can be updated, transform,
used, accumulated, and circulates in this way for the CID method in this dissertation or otherrelated work.

14

Fig. 1-4 Research Logical Sequence

1.6 Novelty
In this dissertation, to solve MRQ and three SRQs, it had used 3 chapters to do the
preparatory work, and 4 chapters to do the concreteness work within the main body.
Accordingly, the novelty of this dissertation mainly includes three aspects：

1.6.1 The Method for Digitalization Features of CTCH
CTCC is the intangible cultural heritage and protecting and keeping it that is a hard
problem. Digital processing technology is an important means of information preservation.
In terms of the inheritance and development of intangible cultural heritage, the extractionof color features and data processing have brought new manner for it. On the other hand,even though data is the foundation and the most reliable information carrier, a rigorous
data model always faces difficulties when it comes to describing people's complex
emotions and feelings about colors and color scheme relationships.
To better conserve and inherit CTCC and CTCH, it is essential to follow andcombination the modern chromatic science and color standards. In this part, a method had
been proposed which focused on the extraction of CTCS. Secondly, the results thatcompare with the existing color extraction methods, and brain wave test, proved that themethod in this study can obtain more acceptable visual perception from participants, and15

the results extracted by the work can cater to the aesthetic cognition of contemporary
people. Third, through the extraction method the CTCH database, and website application
had been built up, which can offer the practical tool for the CTAW.

1.6.2 The Architecture and Model for Generation and Optimization CTCH
CTCC has a history of thousands of years. CTCC is strong historical characteristics
some parts of it do not suit contemporary people's aesthetics, and it needs to be integrated
into modern society in a new way.
To inherit and develop the CTCC, in our view that the CTCC should meet the needsof the development of the times and the cognitive and aesthetic characteristics ofcontemporary people. To achieve the aim, in chapter 5, the improvement method andprocess to inherit and develop CTCH are proposed. The algorithm architecture in thismethod refer and combination with the architectures included the Lasso regression model(S. Lin & Hanrahan, 2013b), the Neural Image Assessment (NIMA) model (Talebi &Milanfar, 2018), and the Wasserstein GAN gradient penalty (WGAN-GP) model(Gulrajani, n.d.) respectively, its main function is to generate and optimize the CTCS thatcarter with the aesthetic perception of modern human, and provide the model andalgorithm. This integrated process absorbs the advantages of the three models, improves
the efficiency compared with using each model alone and preliminarily solves thecomprehensive problem of generation and optimization of Chinese traditional color
scheme.

1.6.3 The Interactive Application and Development Method for Inheriting CTCH
Color harmony is an abstract perception of the appearance of things by humans. It
needs to be expressed through human language or physical carriers through human visual
perception and abstract thinking processes. CTCC as intangible cultural heritage is toocomplex to understand and use in real projects, it needs lots of professional knowledge
that is hard for most people and the public. To better make people comprehend thehistorical background of CTCC, and make CTCH easy to use.

16

In this part, the research workflow of the color matching application and VR
application are based on the quantitative model of perceptual factors and explore how to
use the theory methods of CTCH in practice. More precisely, a website interactive system
had been constructed. The purpose is to facilitate the collection and processing ofperceptual quantitative data of CTCS which are selected by people and help people
comprehend the knowledge of CTCC and CTCH. Its significance is to facilitate theconnection with quantitative and qualitative methods for CTCH. and it provides theapplication method that combines theory and practice for CTCH.

1.7 Contributions for Knowledge Science
Knowledge is divided into explicit knowledge and tacit knowledge, explicit knowledge
can be displayed, tacit knowledge is hard to formalize. The CTCH is the tacit knowledge andintangible cultural heritage, it is the complexity to inheritance.
This dissertation through interdisciplinary approaches proposed a systematic methodology,
to set up the method of digitization inheritance and application for CTCC and CTCH that
included the conservation method, improvement method, development method namely the CID
method. This methodology is the method of inheriting intangible cultural heritage and it is also
the measure for the continuation of knowledge development.
The contribution of conservation method for Knowledge Science. The method is proposed
to color scheme extraction for the image of CTCS, it supplies the foundation database for CTCH,
it is protection manner for knowledge and intangible culture heritage.
The contribution of improvement method for Knowledge Science. The method can be usedgeneration and optimization CTCH, it is the method of transformation procedure which fromthe abstract to the concrete for aesthetic knowledge and tacit knowledge.
The contribution of development method for Knowledge Science. The method is proposed
for learning knowledge of CTCH and CTCC, through those methods that can guide people
know how to use it and more comprehend with the CTCH and CTCC. Its significance is tofacilitate the connection the knowledge with the CTCH.
As consequently, this methodology offered the methodology and practical manners withresearch cases for intangible cultural heritage research which could be a reproduction.
17

1.8 Outline and StructureThis research had been used 8 chapters within the main body of the dissertation, as
follows:
Chapter 1 Introduction.
This chapter introduces an overview of this dissertation it illustrated why CTCC and
CTCH should be inherited, it includes the background of this study, problem statement
research questions, research motivation, objective and aim, novelty, and the whole
structure of the dissertation. This chapter briefly explains major work produced.
Chapter 2 Literature Review
This chapter provides the literature background of the CID method which was
proposed in the dissertation for inheritance CTCH with three aspects. Through summarizes
the theories and principles of Chinese traditional color harmony and western color
harmony through the method of comparison, to provide the basis and groundwork for thefollowing. Simultaneously, summarize the results of the previous research, and get the
specific methods suitable for this study. The main purpose of the literature review is toexplain the research theme from two aspects of research results and theory.
Chapter 3 Research Methodology
This chapter described how the CTCH inheritance methodology had been proposed
for this dissertation as the systematic method, which includes the thinking process, theresearch design, methods, and research procedures of each chapter. This chapter
specifically describes the thinking process and way of studying how to acquire and answer
the question. This chapter uses the progressive approach to deduce the CTCH inheritancemethods from the whole relationship to the branch relationship.
Chapter 4 An Extraction Approach of Chinese Traditional Scheme Colors Based on
Chinese Traditional Artwork
This chapter had proposed the method that focuses on the extraction of Chinese
traditional color scheme to quantization and digitation approach for CTCH. Secondly, theresults that compare with the existing color extraction methods, proved that the method18can obtain more acceptable with visual perception. Finally, through the extraction method,
the CTCH database and website tool of application had been built up.
Chapter 5 Contemporary Chinese Traditional Color Harmony Aesthetic Renew
Approach Based on the Deep Learning method
This chapter is mainly an extension and in-depth study of chapter four. The researchcontent of this chapter is based on the three model architectures, which are the model ofthe Lasso regression, the NIMA, and the W-GAN_GP, constructing the generation modeland the optimization model of CTCS, and then proposes the item specific methods andprocedures for the CTCH inheritance. This process and results can provide an algorithm
architecture basis for the subsequent interactive research system.
Chapter 6 An Interaction Website Application of Chinese Traditional Color Harmony:
The Case of High-Speed Railway
In this chapter, the high-speed railway interactive website color scheme system isbased upon CTCH and CTCS. the work of the chapter is to explore a method of integration
and blending, namely color quantification and interactive design, to expand the scope of
application of CTCS systems. The aim is to reduce the dependence of color scheme designon professional knowledge, improve the efficiency of color scheme design, obtain train
color scheme data with CTCS characteristics, and carry out preliminary quantification ofperceptual factors.
Chapter 7 A Virtual Reality Interaction Auxiliary Learning Application of Chinese
Traditional Color Harmony
In this chapter to assist the public to learn and understand Chinese traditional culture,
an interactive application of CTCH and Chinese traditional color is proposed. First, twosemantic relations are established, which are the relationship between sensation image andCTCS, Chinese traditional color, and Chinese Tang poetry. Based on the data of relations,an interactive visual reality application is established, which could help people understandand comprehend the cultural meaning of CTCC.
Chapter 8 Conclusions and Prospects
This chapter mainly elaborates on the overall work conclusions, implications,limitations, of the dissertation. The last chapter answer the SRQs for MRQ presented. The
19

whole method includes theoretical and practical implications. Limitations andrecommendations for future works, also consider of inspiration for the subsequent studies.

20

CHAPTER 2 Literature Review

2.1 Review for Digitalization
2.2 Review for Aesthetic Evaluation
2.3 Review for Systematization

21

This chapter provides the literature background of the CID method which is proposed in
the dissertation for inheritance CTCH. The overall structure of the literature review is shownin Figure 2-1. To better illustrate and review the content of each part, which involved thetheory and related work are separated into each section correspondingly.

Fig. 2-1 Structure of Literature Review

In review, by comparing the aesthetic views, theories, principles from the East and theWest, the standpoint and conclusion are summarized in relevant work with interdisciplinary.
Simultaneously, the concrete methods which are suitable for the chapter of the dissertation are
obtained to provide a theoretical basis and methods for the work. In conclusion, the major
purpose of the literature review is to amplify and illustrate the literature review and review ofthe dissertation from theory, method, and conclusion. The three aspects are as follow:

222.1 Review for Digitalization
Color has been widely used since the emergence of human beings. with the developmentof human society in different periods, color also plays a very important visual role in different
fields. From prehistoric murals for recording to modern paintings to express aesthetic andartistic concepts. From the covering to cover the body to all kinds of apparel to convey the
fashion manifesto in modern times. From the color and logo to distinguish the nature of thetribe to the national flags of countries in the modern world. Color culture and color harmony
had been and will always be accompanied by the development and progress of human society.
With the gradual establishment of the modern scientific system, color has been scientific,
systematic. Driven by the development of science and technology, color and related disciplines
are gradually refined, color is integrated with other disciplines and a new system is developed,
such as color and optics, which promotes the standardization and systematization of color.
Color and psychology promote the humanization of color harmony theory and color collocation.
Finally, when the computer science emergence, color, and related research has been promoted
to another dimension, which can solve the huge amount of data problems in color research in amore intelligent way.
How to inherit the CTCC and the CTCH scientifically will be the purpose of this literature
review. Therefore, to solve the problem of digitalization, the view in this work had been
considered that, for the inheritance and development of Chinese traditional color culture, it isessential to adopt the mixture approach to seek the way and study the CTCC and CTCH withchromatology with computer graphics and other related disciplines. The literature review in thispart will involve two aspects: Chromatology, Colors quantization approach.

2.1.1 Chromatology
Western chromatology research, since Newton, released color from the light which leadthe Western scholars entered to a new realm of color research (Kita & Miyata, 2016). The
Munsell color system had been founded by Munsell A.H., In 1905. The Germans Wilhelm F.
Ostwald had published the color system of mixed color method in 1917 (Gong et al., 2017a).
In 1983, Andrews through the Munsell Color Tree shows the pleasant visual phenomenon in
the form of color combination (Granville, 1987)， This sensory phenomenon is considered to23belong to the category of color harmony (Gong et al., 2017a). Subsequently, the theory of red,green, yellow, and blue that are the "four primary colors" was founded. The significance of thisresearch content is that it covers the fields of physics, biology, and psychology, and provides a
new direction for color-related research (Jacobs & Hustmyer, 1974). Since then, the clue of thewestern theory of color harmony began to take shape (Szabó et al., 2010).
As the beginning of the standardization of modern oriental colors, the Japanese Color
Research Institute published Practical Color Coordinate System (PCCS) in 1964 (Chuang &Ou, 2001). Subsequently, the Swedish Natural Color System (NCS) was established, which isbased on the theoretical framework of the Oswald color system and added psychologicalresearch methods. For now, the most used color system is the PANTONE color system whichis the commercial use. The Chinese color system began with the book "Chinese Color system",
which was completed in 1993, and then established the Chinese architectural color card CBCC.
It was not until 2003 that the China Textile Information Center launched the research on the
Chinese applied color project, and established the Chinese national standard GB/T21898-2008
which is the textile Color representation method, and the Uniform color space and color
difference formula (GB/T 7921-2008). Until 2015, China has published the latest national
color standard which is the Names and colorimetric characteristics of traditional colors in
China (GB/T 31430-2015)

2.1.2 Colors Quantization Approach
In the past few years, different scholars have proposed a variety of automatic color theme
extraction methods. Generally, the major methods for color extraction of the image are: A.
Median Cut Method， the problem is that under some conditions, cuboids in color space arelarge but contain only a small number of pixels. B. Octree Method， the number of leaves cut
each time is uncertain, but only the new one is added, which leads to the number of swatches
not always satisfied. C. K-Means method， When the random selection method is used, thecenter point selected in the iterative process is far from all other data and eventually leads toisolation.
The work proposed an important beginning, in which the color themes based on images
are compared with those extracted manually by people, and the color extraction method based24

on human color theme data is used (Lin & Hanrahan, 2013a). The work proposed the conceptof emotional color theme is introduced, the color emotion theory is introduced into color theme
extraction, and a novel emotional color theme extraction framework is proposed (Liu & Luo,2015). the method of color theme extraction for fabric images is expanded by one step of image
saliency (Liu et al., 2016). The research extracts the features of the CTCC Yuexiu color systemby the K-Means clustering method (Zhe et al., 2019). The work that improved palette extraction
method based on k-means clustering and analyzing image color hue and saturation components
is proposed. The algorithm improves the saturation of representative colors and the effect ofcolor extraction of small detail images. the study through calibration color of each photo isconverted to the CIE Lab color space, and the representative color of the building is determinedbased on the selection of k-means clustering (Ruxpaitoon & Lertrusdachakul, 2019).
The method that the color theme can be extracted by using the supervised method ofregression model training based on the user-defined color theme (Ciocca et al., 2019). It is
worth noting that the research method is more like psychological research (Liu et al., 2016),
through human behavior experiments to obtain training data, and then adjust the parameters forthe simulation. In his work, 79 feature variables are extracted from the image and multiple
regression is carried out, and the results can better fit the results of human selection (S. Lin &Hanrahan, 2013b). This training model can provide visual results which simulate human visual
cognition and are closer to human feeling. Through the reproduction of the above methods, thisresearch found that the extraction results of CTCS are not ideal that some colors are not correctand some are not suitable, but the work of Lin has significance reference meaning for thisresearch.

2.2 Review for Aesthetic Definition and Evaluation
Human beings continue to pursue beauty, exploring and studying beauty in various ways
in different periods. They try to give new dimensions and definitions to beauty by different
means and ways, but these definitions are full of opposites and unity. Western aesthetics has
explored beauty through philosophical speculation and mathematical formulas since ancient
Greece. On the other hand, oriental aesthetics pursues the natural beauty of the unity of man
and nature from the CTCC. With the development of society and the satisfaction of basic
matters, people begin to pursue the pleasure of the spiritual dimension. As stated in Maslow's
demand theory, people's demand is divided into stages.
25

On the contrary, there have been differences in the definition of aesthetics since ancient
times, what is beauty and what is the best way to express beauty. Various theories and schools
hold their own opinions. Since the cognitive theory, color harmony theory has been proposed,
an aesthetic model has been established, neural network, deep learning method, and otherdisciplines have been developed. It gives more extensive exploration space for aesthetic
definition and aesthetic evaluation.
As consequence, how to construct a balanced way of beauty and evaluate CTCH will beillustrated in this part of the literature review. Three aspects of related work are mainly involvedin Aesthetic definition and evaluation: 1. Aesthetic and Perception. 2. Aesthetic Models 3. Color
Scheme Generation and Optimization.

2.2.1 Aesthetic and Perception
a. Concept in Western and Eastern
Plato, “time is a moving image of eternity.” (Abrams, 2021). Beauty is objective andcomfortable, it is external to human beings, and it is an objective entity that does not transfer
human beings all the time. When Pythagoras says that something is beautiful, it is because it
conforms to a law of beauty, which is real and the same all over the world, and this law ofbeauty is a mathematical proportional relationship. If a thing accords with the harmony ofmathematical proportion, it will produce a sense of beauty. For example, the reason why music
is good is that it accords with mathematics when the chord length of two notes is a simple
integer ratio. The sound produced by playing at the same time or continuously is harmonious
and pleasant, or in the field of architecture and sculpture, if we design architecture and sculpture
according to the golden proportion, it will show a sense of beauty. The ratio of the golden
section is about 1.618. There is a kind of objective and comfortable law of beauty. If it conforms
to this law of beauty, it belongs to beauty, otherwise, vice versa.
On this basis, Plato further explained that the law of this kind of beauty is a kind of spiritual
existence, which is called "idea". It holds that spiritual existence is higher than material
existence, because the matter is immortal, and spiritual ideas, like mathematics, are immortal,
and all immortal things in the real world are imitations of immortal ideas, so they appear to be
beautiful. The aesthetic ideas of people have differences and are divided into different levels.
According to Plato's view, it is still a matter of the matching relationship between matter andspirit. The figurative aesthetic is not through any formal abstraction, but a direct aesthetic to26

the concrete material itself. Plato also believes that these are all low tastes, while the advanced
aesthetic is an aesthetic activity in which human beings use spiritual rationality and capture thesame as spiritual ideas. On the other hand, elegant art is a kind of abstract art, which pays
attention not to any specific objects, but to a kind of formal beauty, through which people pursue
a kind of pure spiritual communication. The difference between people's aesthetic taste is real,
because the concept of beauty is a kind of objective and comfortable spiritual entity, andpeople's aesthetic taste will be disturbed by sensual desire, so we should improve our aesthetic
taste. It is vital to get rid of the hijacking of sensuality and appreciate pure spiritual beauty
through reason. The aesthetics are divided into superior and inferior, that aesthetic is not entirely
an objective activity, but also has subjective elements in it (Perlovsky, 2014). The aesthetic is
the human being as the subject in aesthetic, although human aesthetic has subjective factors,
humans have a kind of congenital common sense for aesthetic. Kant divides aesthetics into two
kinds of tastes, reactive interest, and reflective interest, the former is empirical interest andinevitable interest. The latter is rational interesting and free interesting. The first kind of interest
does not have universal inevitability, it is a matter of individual aesthetics, and this kind of
aesthetic taste is a more sensory pleasure.
In the view of Hegel, beauty is the sensuous presentation of the idea; beauty is the
manifestation of the idea in sensuous form; In the aesthetic system of Hegel, natural beauty
stands as a lower basic condition of artistic beauty, which is the sensible appearance of idea
since it rarely gets vigor perfusion (Hegel, 1975). Western aesthetics is used to express beauty
through fixed formulas or equations, from impersonal ways to express that beauty is an
immutable truth. On the other hand, western aesthetics is emphasized beauty as subjectivity
which is from the person.
In the contrast, in traditional Chinese philosophical values, the philosophical concept of
Yin-Yang and the five elements is the foundation of all things in the world, it is a kind of theconcept of psychology and philosophy (Louise, 2015). It has lasted for more than 2500 years
in China that has been deep-rooted in Chinese blood and mind. The five-form, color
combination is the most harmonious Chinese traditional color. Commonly used expressions, inthe traditional five element colors, five colors refer to the five color categories that are usually
expressed as blue, red, yellow, white, and black (M. S. Lee et al., 2012).

27

The black and the white symbolize Yin-Yang in the theory， and it means two-side of the world
which are constructed by Five-Elements, It's an interpretation of the ultimate cycle for all thingsin the world, the two sides of matter going round and tangling each other infinitely.
The surface meaning of Yin-Yang is the opposites, the deeper meaning is the combinationof opposition and unity. In the traditional Chinese color harmony method, black and white are
a combination with other colors to achieve color brightness and purity. The change of saturation
produces different ways of color matching. CTCH is based on the observation of nature and theaccumulation of experience. In Chinese ink painting, this philosophical thought is shown as thechange of ink, and it is also described as colorful black or white, while in ink-art, the ink isdivided into five changing dimensions.

2.2.2 Color Perception and Color Scheme
Color harmony is a complex issue that contains a variety of areas (Ou et al., 2011). Coloris the visual effect stimulated by light through the human eyes delivery into the brain (Ji et al.,2020). The influence of color on human senses has three levels. The first level is visual
perception, which is mainly affected by the physical properties of perceptual objects and isclosely related to color perception. The second level is psychological perception, and the resultof perception is influenced by the individual factors of the experimenter. The third level is basedon the interaction of the complex relationship caused by the interaction of the first two levels(Nemcsics, 2012).
As the basic meaning of the color scheme is the visual effect produced by combining morethan two colors. The visual effect produced by different color elements is called a color scheme
through the principles of balance, emphasis, contrast, prosody, dominant color, auxiliary color,etc. (Nemcsics & Takacs, 2019). If this kind of color scheme is formed a pleasant feeling frompeople that belongs to beauty, it shows that this way of color scheme belongs to the category ofcolor harmony, and color harmony is a kind of aesthetic evaluation of the color scheme.
(Granville, 1987),(Hsiao et al., 2008).
Meanwhile, people's aesthetic perception of color schemes will be influenced by race,
culture, social experience, gender, age, and other factors. (Q. Jiang et al., 2019). Color harmony
is a kind of abstract perception of the appearance of things, which can only be expressed byhuman language or physical carrier through human visual perception and abstract thinking

28

process(Hsiao et al., 2017).

Notably, chromatism establishes the aesthetic model of color

scheme model to interpret or define the criterion of color harmony.

2.2.3 Aesthetic Models
The related research on color harmony mainly includes color harmony, color preference, andcolor composition. Starting from Ostwald, colorists have tried to summarize the general law ofcolor harmony. The color harmony is equivalent to the order which should follow themathematics scale (Granville, 1987). Moon and Spencer had grouped colors into four categories
according to the color contrast, the atmosphere similarity, the ambiguity, the comparison (Moon,
1944). Hard and Sivik proposed a color harmony factor model (Hård & Sivik, 2001).
The harmonious color scheme based on the color wheel mainly contains six contents asfollows (https://paletton.com/), part of the case is shown in Figure 2-2:
1. Monochromatic collocation, this method uses only one color or hue. Just pick a pointon the color wheel and use changes in saturation and color values to create changes. The
advantage of this scheme is that the color can be matched.
2. Analogous collocation： It refers to the use of adjacent colors in the color wheel, suchas red and orange.
3. Complementary collocation： Complementary colors are opposite to each other in thecolor wheel, such as blue and orange. To avoid oversimplification of the complementary color
scheme, some colors with different saturation are introduced.
4. Adjacent collocation： Match with adjacent colors on both sides of the relative color.
It can improve the comparison and make it more interesting.
5. Triadic collocation： Three uniformly distributed colors are used to form a perfect
triangle on the color wheel.
6. Tetradic collocation： The color used in the quad collocation forms a rectangle on thecolor wheel.
Those kinds of color harmonious collocation above can greatly facilitate non-professionals
to generate color collocation, but this fixed pattern will not produce a unique cultural beauty.
Additionally, the nature of color harmony is defined by people's subjective judgment, and it isa concrete conclusion drawn by people through the accumulation of experience (Nayatani &29

Sobagaki, 2002).

However, the empirical definition and evaluation of color harmony are

limited, and the color is affected by many aspects, the people who judge whether color belongs
to a harmonious individual, the conclusion will be very different (Ou et al., 2011). With the
emergence of neural networks and deep learning objective evaluation becomes possible thatcan learn the human experience into its logic and operation mode.

Fig. 2-2 Harmonious Collocation

2.2.4 Color Scheme Generation and Optimization
It is the difficult problem for non-professional backgrounds people to create a color
scheme that caters to aesthetic criteria and concerning designers create a suitable color schemethat can gain ratification from most people, it is also an uneasy thing. Additionally, the aesthetic
value and conception of the CTCH and the CTCS were created in ancient times, some of theaesthetic concepts are not suitable for contemporary people. How to optimize CTCH with asuitable approach will be the motivation of the literature review in this part.
a. Color Scheme Generation
The research work is based upon the color harmony principles that involved familial
factors and rhythmic spans from conventional color theories, in the work the tool had been
proposed which could make people create harmonious color schemes only with several steps(G. Hu et al., 2014). The method allows participants to obtain suitable color schemes easily andeffectively through the interactive genetic algorithm and four similarity search functions(ISHIBASHI & MIYATA, 2015). The research proposed a model of six-variable. The color
30

combinations generated from this model can express the specific parameters of the six-variable
involved the value of saturation, a representative value of lightness, the span of hue, the spanof saturation, and the span of lightness (G. Hu et al., 2015). The research proposed the rating
prediction model which had been trained by the preference color dataset from the human. Thismethod used the model to rate color combinations that consider human aesthetic preferences(Kita & Miyata, 2016). The method proposed an automated approach to creating a color scheme
through the multi-objective interactive genetic algorithm. The color scheme generated by thismethod can convey desired personality impressions, and express designers' preferences (Wu etal., 2018). The research builds up a neural network-based upon human emotion and feeling withcorrelation analysis and factor analysis(Guo et al., 2020).
b. Color Scheme Optimization
With the development of artificial intelligence, the deep learning method has provided andsupplied great help to solve the problems encountered in computer image vision. But the deeplearning has not been paid attention, before 2009. Since the IMAGE competition project
initiated by Li in 2009 (https://image-net.org/), massive data and tagging content have been
gradually established. Until the large dataset for deep learning neural network established byAlex who won the championship of IMAGE competition in 2012, the deep learning method
had been valued and developed by leaps and bounds.
Generative Adversarial Networks (GAN) can provide good appeal with enhanced visual
results (Gulrajani, n.d.). GAN has produced many popular architectures, as identifying deep
network generated (DNG_GAN), (Li et al., 2020), Loss-Sensitive Generative Adversarial
Network (LS_GAN), (Qi, 2020), Wasserstein GAN (W-GAN_GP), (Gulrajani, n.d.), etc. These
structures have their application fields, among which the WGAN_GP has an excellent
generation effect.
Based upon the works above, the view of this dissertation can learn as follow aspects. First,
the way of generation and optimization CTCS should use the color scheme preference datafrom the people, people from China is the best option, due to the traditional concept for any
culture that had been in habits and customs inside the people minds, in the more or the less.
Second, regard to CTCS such amount that it needs the automatic approaches to generate it. On
the other hand, it can train the model and obtain data that learned from experts or professional
people will be the better option. Thirdly, compared with the original GAN, W-GAN_gp has a31better result (Gulrajani, n.d.), which makes the training data for the network more stable and to
the generated image.

2.3 Review for Application Approach
Regarding contemporary society, the relationship between color, human aesthetic, andculture is further strengthened, and the color is in a more important position. Color is not only
a kind of aesthetics but also a kind of social and cultural category. Color is an important aspectof natural beauty and traditional aesthetics. (Kawabata，2004). Color expresses all kinds ofhuman thoughts and emotions in a variety of possible ways. Color has become a carrier ofcultural symbols, color and culture are inseparable, and become an important part of the culture(J. H. Lee & Kim, 2007). Color is not only related to itself but also carries social aesthetic andcultural significance (Y. Wang, 2017). In addition, color also has the role of psychologicalimplication, the value of color in the spirit can`t be ignored (Jacobs & Hustmyer, 1974). Coloris deeply affecting human emotions and thoughts through aesthetic and cultural activities.
As consequence, how to establish the cognitive and perceptual relationship between
humans with CTCC, CTCH, and society systematically, and how to construct the aesthetic way
into the concrete application through this cognitive behavior relationship, will be the content of
this part of the literature review. This section will contain three aspects, 1. Cognize, synesthesia,
and factor of color harmony. 2. Sensibility Factors. 3. Human-Computer Interaction.

2.3.1 Cognize, Synaesthesia, and Factor of Color Harmony
In general, synaesthesia is classified as a human physiological phenomenon. Synaesthesia
is such a perceptual experience that one kind of perceptual experience evokes another kind ofperceptual experience at the same time, and this evocation is involuntary and has not been
consciously processed by the brain (Rouw & Scholte, 2007). But another view of synaesthesia
is the sense of unity and common which on a spiritual level that transcends time and space(Julia, 2011).
Regarding color, originates from the principle of color harmony in human observation ofnature, the sense of unity produced by basic toning. If a certain hue occupies a large area of theimage, it is called the dominant tone or hue, the second volume of hue in the image that is called
auxiliary hue. The dominant color and the auxiliary base color play a major role in human32perception and emotion (Gou et al., 2021). The image formed by color or color collocation isderived from the enlargement of common elements. Although the image and emotion of color
vary greatly from person to person, there is a common phenomenon in it (Solli, 2011). Even
though the person comes from different cultural background, the cognition of some colors will
not be very large, such as red which is a means of enthusiasm, it symbolizes warmth. The blue
symbolizes coldness etc. Nonetheless, as the number of color elements increases, thecomplexity of perception will also change (G. Hu et al., 2016). The visual proportions of thedominant tone and minor tone of the spatial color scheme are the main factors that form theimage of the color scheme, and the visual focus point will also have a secondary impact.
Consequently, it is like the language is formed by logic, the music is composed of rhythm,
and whether color collocation is harmonious or not, depends on the certain proportional
relationship between color and human vision and psychological behavior. Maybe it can becalled the universal value of color, but it needs to be emphasized that this is only a phenomenon
in cultural commonness, not an absolute definition or rule for color harmony.

2.3.2 Sensibility and Perceptual Factors
The concept of being people-oriented has become the core idea in various fields. Humanperceptual factors have become an important discipline in academic circles. Since the Kansei
Engineering establishment of has pointed out the direction for solving perceptual problems
related to human beings (Matsubara & Nagamachi, 1995). Thereafter, the multitude ofresearches are based on the KE method emerged in an endless stream. As the study exploredthe perceptual requirement of consumers， the perceptual requirement of interior color was
obtained using the perceptual engineering method. The perceptual data was processed with
reduction dimensionality (Of & Design, 2019). The study aimed at the problem that the color
image was not clear in the design process of elderly products， through the KE method， theelderly users were taken as the subjects to perform psychological response test on a householdproducts color scheme using the semantic difference method (Design, 2018). The study usedenvironmental psychology research methods and the KE method, confirming that freely chosen
images with word prompts, proved the potential for identifying sensation requirements(Yoshida et al., 2018). The view of the research proved that visual color is the most important.
The research on the visual color matching of KE has become a project that has an important
impact on the research and development of related fields in the future (Y. Lin, 2019a).

33

Additionally, the human perceptual experience can be divided into five categories:
aesthetic experience, emotional experience, social experience, cognitive and functional
experiences, which can be summarized into three levels; feeling, behavior, and reflection. This
point of view provides the theoretical basis for the study of color harmony.

2.3.3 Human-Computer Interaction
Human-Computer Interaction (HCI) adapts to people from the computer to the computer,and the interactive information gradually evolves from a single input and output process to a
multi-dimensional input and output information interaction process. The initial and lasting
technical focus of human-computer interaction is the concept of usability which is definition
usually includes entertainment, happiness, collective efficacy, aesthetic feeling, tension,
enhanced creativity, mobility, support for human development, etc. The real starting point of
HCI from the publication of the book that namely the psychology of Human-Computer
Interaction (Card, 2018).
Similarly, due to the further expansion of the subject field of the integration of cognitive
science into human-computer interaction. As the interdisciplinary research, the humancomputer interaction had been beginning with the project of cognitive engineering (Carroll,1997), (Treadaway, 2007). Additionally, with activity theory into HCI that has sublimatednature of HCI (Bazerman, 1998). The connotation of HCI is not only to explore the relationshipbetween man and computer but also to describe how the change of consciousness is directly
related to the current material and social conditions with people. This view makes individual
consciousness a situational phenomenon, in which material and social background are very
important. One of the fundamental reasons, why activity theory is related to technical designand evaluation is that it emphasizes that artifacts are an important intermediary of humanexperience. According to the activity theory, the artifact is the product which base on humanexperience that from abstract concept to concrete matter, and it needs to be verified in social
practice (Bazerman, 1998).
At present, HCI had been involved in various fields and disciplines, the research andpractice of human-computer interaction involve and draws lessons from the advantages anddisadvantages of multiple disciplines. The essence of human-computer interaction has become
more extensive and diversified than computer science itself, it has great value forinterdisciplinary research. Consequently, as the interdisciplinary application field, HCI is the34

key to social and scientific development in the future.
The major reasons are as follows:
1. Predictability, the behavior of specific things and people can be predicted at some levels
and dimensions through data accumulation and the learning process.
2. Artificial intelligence needs a huge amount of human-related data, which is required tobe obtained through the human-computer interaction process.
3. Auxiliary, the potential of humans as an organism has not been fully developed, andhuman-computer interaction can help human beings to give full play to their mental andphysical potential in the future.
Additionally, with the integration of the field of design science and HCI, user experience
design and interaction design based on human perceptual cognition are not only the input into
HCI but the output from HCI. To analyze the production requirements and needs between
creativity and basic principles in design, as a design process, HCI must have internal logic, andcan systematically evaluate and maintain the design, but in the meanwhile, stimulate newexperiences and insights. As an extension of HCI, with the maturity of virtual reality technology
and hardware equipment, VR (Diemer et al., 2015), there is a new technical way for the studyof color harmony. Virtual reality technology can provide real environmental simulation, thus
improving the process of emotional experience and establishing the emotional relationshipbetween the environment and people (Riva et al., 2007). The definable interactive environment
provides a medium for human-computer interaction. Based on the transformation process ofhuman sensibility and experience, more potential research contents will be provided for humancomputer interaction (Computer, 2005). As Conclusion, from the view of this research thinkthat the CTCC and CTCH Inheritance method can be through the approach of HCI to achieve
the final aim which is the transformation process of human sensibility and experience.

35

CHAPTER 3 Methodology

3.1 Research Design
3.2 Research Method
3.3 Research Procedures
3.4 Procedures
3.5 Data collection approaches

36This chapter introduces the overall research methods for this dissertation in the way of
methodology. Primarily, it explains how research questions emergence which is the thinking
process with the complex question for the method of digitization inheritance and application.
Subsequently, through the summary and analysis of the literature in various areas withkeywords, the top-level method and branch method are reconstructions that are the integrity
method for this dissertation.

3.1 Research Design
This dissertation through the qualitative analysis of "why" to further quantitative research,
to solves the specific problem of " What is "," for Who " and " How to ", and forms the wholeidea struct in methodology, to expand and deepen the research conclusion utilizing theapplication system. As consequence, the process of problem abstraction can be simplified asfollows: First, summarize the central idea through the simplest words. Second, use the simplest
sentences to express concise concepts. Third, based on the concept statement to reconstruct thewhole method. The thinking process is shown in Figure 3-1.

Fig. 3-1 Research Thinking Process37Why do this study?
CTCC has lasted for a thousand years, in which CTCH embodies the Chinese traditional
aesthetic concept and Chinese traditional philosophical value. As the intangible culture, CTCH
drifts with thousands of years of wind and rain, and many cultural venues and cultural
phenomena are no longer complete. In addition, with the process of modernization, CTCH is
faced with many problems, such as how to integrate with the modern scientific system and how
to improve itself, how to evolve or improve based on its aesthetic system to be more cater tothe aesthetic of the modern publications, and how to through modern media to make more
people understand the aesthetic of CTCH, etc. Consequently, according to the problems, thisdissertation expounds and summarizes one MRQ and three specific SRQ, and constructs a
series of solutions to the problems in this dissertation. Undoubtedly, only by protecting the past,that can we better develop the future.
What is it?
For the definition of CTCH, my view think that no expert or scholar can simply use thetheory or research result to explain or illustrate the accurate definition, due to CTCC and CTCH
being extremely complex, it involves too many aspects and disciplines. But the definition ofthis dissertation, in work view, is meaning of inheritance is the process of accumulation and recreation for knowledge.

Humans are namely human because they create and accumulateknowledge while maintaining their survival and linebreeding. Generation after generation ofhuman beings create knowledge that belongs to their time and period, some of the knowledge
which is recorded in literature, preserved in practice, or taught in words, and passed on to thenext generation, opening the wisdom of the next generation. Enlighten the creation andproduction of knowledge. The creation and production of knowledge are continuously
continued and passed on from generation to generation. That makes the various culture caninherit with the process. As an intangible cultural heritage, CTCC and CTCH still shine brightly
after wind and rain. CTCC has a history of thousands of years which can be date back as earlyas 1600 before the Common Era. The CTCH can be sorted through the data level for the future
gradually.
Who is the server target?
The service object of this study includes three aspects. Firstly, the major service object of
this work is the public. It is hoped that the research content for CTCC and CTCH, offers an
operable and entertaining application that could help more and more people comprehend and38

learn it. Secondly, the minor service object of this work is the inheritor. It is hoped that the CID
method proposed by this dissertation could be used as the case for a different culture. Any
culture is a treasure for the human being, no matter how small it is. Thirdly, it is hoped thatthrough basic dataset had been struct and interdisciplinary approach in this dissertation, toprovide a method that could be used for the reference. In my view believes that the combinationof art and computer will be the major direction of innovation for the future, which istransforming people's thoughts and concepts into data that systems can learn and operate.
How to attain the final aim?
The literature is collected and sorted out by keywords, and the literature is analyzed by
CITESPACE software which is the Literature analysis and data visualization tools, and thecontents of literature abstracts related to CTCC and CTCH are collected in a broad sense andsorted out in a narrow sense. Construct the top-level structure and details of this paper. And
form the theoretical basis and solutions. In the dissertation, four chapters had been used to build
up the whole methodology which is mainly in way of conservation, improvement, anddevelopment.

3.2 Methods
Due to CTCC has a long history, it is numerous and complicated, and there are great
differences in historical stages with it. Therefore, it is difficult to study just through the words
and literature for theory research, or in a single area simply. Based upon the content and works
above, in the opinion of this work, CTCH needs to be union the review of literature materials
and combine with modern color quantization standards, using the interdisciplinary method.
More importantly, it need be to quantify and digitize through new technologies to extend theresearch content and works.
CTCC is the intangible cultural heritage and protecting and keeping it that is a hard
problem. Digital processing technology is an important means of information preservation. In
terms of the inheritance and development of intangible cultural heritage, the extraction of color
features and data processing have brought new manner for it. On the other hand, even thoughdata is the foundation and the most reliable information carrier, a rigorous data model always
faces difficulties when it comes to describing people's complex emotions and feelings aboutcolors and color scheme relationships.
39

In the dissertation, a mixed-method is proposed that combines research approaches of thequantitative method, qualitative method, interdisciplinary method, and theoretical with thepractical method, as follows:

3.2.1 Literature Review and Bibliometric Analysis
In this part, by analyzing the overall related literature in terms, the processing reduced
directions in various related areas gradually. and contact with the relevant literature. This work
is mainly based on literature data from the China National Knowledge Infrastructure (CNKI)
and the Web of Science (WOS), the CNKI citation index which is abstracting and indexing for
more than 500 academic journals covering 25 disciplines among over 2700 academic journalsof social science (YU, 2020). through the software of CITESPACE to analyze the bibliometricfor this dissertation.
This part uses keywords as the start point to search the relevant works of literature withthe keyword the CTCC, based on the quantitative analysis and visualization, qualitative
methods are used to analyze and review CTCC and CTCH, to create an overview of thehistorical context in this field or related works.
a. The Preliminary Search and Data Collection
This research conducted a literature retrieval based on keywords in the WOS database witha time range of nearly 20 years, and the results were not ideal, but several relevant research
fields were obtained in the process, as shown in Figure 3-2 (A). Subsequently, the keyword
literature retrieval of the past 20 years was conducted through the CNKI database, and 1351
articles were obtained initially. The historical context of research development in this field in
the past 20 years is obtained, the literature result of keywords as shown in Figure 3-2 (B).

40

Fig. 3-2 the Literature result of keywords

41

b. Data Analysis and Result
Due to the overall volume of literature being abundant in the CNKI database, the CNKI
database had been selected as the data resource for the literature index and review in this part.
This part mainly used CITESPAC software for data analysis, and the strategy is to define thespecific literature reference direction of this dissertation through keyword clustering analysis.
This work excluded some irrelevant keywords with the main direction of this research, andobtained the keyword Co-Occurrence Network, as shown in Figure 3-3.

Fig. 3-3 Keyword Co-Occurrence Network

The timeline view of keyword clustering, as shown in Figure 3-4, It shows the focus of
the academic articles of various keywords, the research direction, and timeline-related research
topic. For example, the red arc is mainly shown the topic of academic articles was concernedon the meaning of CTCC aesthetic, by 2010. The research topic was concerned with the topic
of the dominant hue, the intermediate color, and the popular color with CTCC and CTCH, by2013. The research topic was concerned with the five-color theory and folklore research, by
2018. Base on the keyword co-occurrence network which is the macroscopical category, andliterature result of keywords and timeline view of keyword clustering which is specificresearch context. It can be illustrated that the topic of CTCC inheritance became the42hotspot research theme for the Chinese academic community from 2010 to 2020, and it
had been focused on the research topic of Five-Color theory and system, aesthetic
requirement and difference, color extraction, color concept, and culture psychology, etc.
Through this part of the work, it had provided the preliminary guidance line for thisdissertation and obtains an elementary shape of the related research situation, research
direction, and literature background.

Fig. 3-4 Timeline of Keyword Clustering43

3.2.2. Research Ideal
In the work, the CTCS is the research objective. Through quantitative and qualitative
methods with interdisciplinary, to explore how CTCC can better be combined with modern
color standards and digitalization. The quantified model of perceptual factors, proposedinteractive design methods, explored the problems of the CTCC in inheritance, and thendemonstrated the applicable color scheme categories and characteristics of the CTCS in theapplication.
As the old saying goes, practice is the only criterion for testing truth. Therefore, to achieve
the final aim, this study should be based on theoretical concepts and principles, and extend andexpand the theory by the combination of theory and practice. Transform a relatively abstract
theoretical way into an acceptable application which is the knowledge transformation procedurethat can make people understand, and use it easily.
This work relied on perceptual factors from humans combined with the chromatic result,aesthetics concept and principle, cognitive psychology, and other theories, through the methodsof computer graphics, to seek the common laws and individual preferences of CTCC and CTCH
that were built up by the dataset. Finally, set up the inheritance method for CTCC and CTCH
that included the conservation method, improvement method, development method.

3.2.3 Research Modela. Methodology ModelIn the dissertation, to solve the MRQ two main model is proposed that are the methodology
model and the algorithm model architecture. In the methodology model, to the summary up thatare three keywords namely the protection, the improvement, and the development, the whole
struct is shown in Figure 3-5.
For SRQ1, the ideal and concept conservation method is proposed, CTCC has a long
history, it is numerous and complicated, and there are great differences in historical stages with
it. Therefore, it is difficult to study with it, only in words and document literature simply. To
better inherit and develop Chinese traditional color culture, we need to union the arrangementof basic materials and combine them with modern color quantization standards, and at the sametime, CTCC needs to quantify and digitize CTCH through new technologies. Finally, to achieve
the purpose of protection.
44

For SRQ2, the ideal and concept for improvement method are proposed, CTCC has ahistory of thousands of years. CTCC is strong historical characteristics and needs to be
integrated into modern society in a new way. To inherit and develop the CTCC, in the viewpointthat the CTCC should meet the needs of the development, and the cognitive and aesthetic
characteristics of contemporary people.
For SRQ3, the ideal and concept development method is proposed, Color harmony is an
abstract perception of the appearance of things by humans. It needs to be expressed throughhuman language or physical carriers through human visual perception and abstract thinking
processes. CTCC as intangible cultural heritage is too complex to understand and use in a realproject, it needs lots of professional knowledge that is hard for most people. To better makepeople comprehend CTCC, and make it easy to use.

Fig. 3-5 Methodology Model and Data Flowb. Architecture Model
The SRQ2 is the questions of Aesthetic Definition and Evaluation, the architecture is
proposed which involved three models to build architecture, they are the Lasso regression
model (S. Lin & Hanrahan, 2013b) which can use to output the result of CTCS in a different
level. The Neural Image Assessment (NIMA) model (Talebi & Milanfar, 2018) can evaluate
general aesthetic scores with the input dataset and by this work. Through the Wasserstein GAN
gradient penalty (WGAN-GP) model (Gulrajani, n.d.), the original image can be optimized and45enhanced which can more cater to the visual demand of people. The models in this method referto the architecture and research of the Lasso regression, the NIMA model, and the W-Gan_GP
model respectively, its main purpose is to generate and optimize the traditional Chinese color
harmony color scheme that meets the aesthetic perception of modern people with chapter 5
foundation dataset.
c. Data circulation and systematic structure
Please refer to the red line which is the data flow in Figure 3-6.
First, in chapter 4 the basic dataset is built up which was for the conservation method. Asa beginning, at least 3000 images of CTCS had been labeled from Chinese traditional artworks
by hand for the pictures feature map, which was used to train the model. After that, the model
was proposed to extract and quantify the data of CTCH.
Second, in the work of chapter 5. The original data of images were optimized andreprocessed through the three models to build by Aesthetic evaluation and improvement method
for the dataset of CTCS.
The development method for CTCS that was proposed in Chapter 6 and Chapter 7, it wasprovided the operation of data to make it to be renewable data that can be updated, transform,
use, accumulated, and circulates in this way for the CID method in this dissertation or otherrelated work.

Fig. 3-6 Data Flow46

3.3 The Objective and Participant
3.3.1 The Objective
At beginning of the dissertation, multiple aims had been set. First, this research intends tomake art and aesthetics conscientization. For this goal, the research literature related toaesthetics, inheritance, had been sorted out through literature review, and a comprehensive
method suitable for this study is found, which is to solve the problem of this research throughqualitative research and quantitative research combined with interdisciplinary methods.
Secondly, the purpose of this research is to inherit Chinese traditional color culture theobjective of this research is to study CTCH with science manner. In the work, the CTAW has
been taken as the research object, about 10,000 images of Chinese traditional artworks had beencollected from the book, image search engine, and the museum website, the detail as follows:
The Palace Museum of Beijing (https://en.dpm.org.cn/).
National Museum of China (www.chnmuseum.cn/zp/).
The Palace Museum of Taipei (https://digicol.dpm.org.cn/).
Famous Paintings of The Forbidden City (https://minghuaji.dpm.org.cn).
National Art Museum of China (www.namoc.org/en/).
Nanjing Museum (http://www.njmuseum.com/en).
The British Museum (https://www.britishmuseum.org/).
The Fitzwilliam Museum (www.fitzmuseum.cam.ac.uk) etc.
Subsequently, the color scheme was extracted from the images and carried out through theestablished color extraction method, and after that, the basic database of this research wasestablished.
Thirdly, this dissertation aims to present the methods of digitization inheritance andapplication that contain conservation, improvement, development for CTCH. For this goal, theillustration of the summary is followed in the section of the procedure.

47

3.3.2 the Participant

Fig. 3-7 Online Experiment Location Distribution of the Participant

A total of 632 participants participated in the experiment, including 154 offline participants,
and 478 online participants which mainly from the Liaoning, Nei Menggu, Hubei, Zhejiang,
Guangzhou, and Hebei provinces of China, Online experiment location distribution of theparticipant is shown in Figure 3-7.

3.4 Procedures
3.4.1 Conservation Method
In Chapter 4, the main purpose is to build up a dataset of CTCS which included various
types of Chinese traditional artwork. To achieve the goal, this part proposed the color scheme
extraction method for the image of CTCS, and through the method that the basic database of
CTCS for the dissertation is classified and quantified, and an extraction website tool for CTCS
had been built up.

3.4.2 Improvement Method
In Chapter 5, the Modern Chinese traditional color harmony inheritance approach for the
CTCH improvement method is based on the deep learning method. This chapter is mainly an
extension and in-depth study for CTCH. The research contained in this chapter is based upon
three model architectures such as Lasso regression, NIMA, and W_GAN model architecture,
constructing the perceptual quantitative model and an optimization model of CTCS and then48

proposing the item specific methods and procedures for the CTCH inheritance. This process
and results can provide an algorithm model basis for the subsequent interactive research system.

3.4.3 Development Method
This part contains two main works. First, in chapter 6, an interactive website CTCS system
had been proposed based on data and workflow acquired from previous work in chapters 4 and5. In the work process, the high-speed railway as the application environment, the participant
can use the interactive system to create the CTCH and makes it more cater with the highly
aesthetic scores. Second, in chapter 7, to build up the sensibility relationship with the learning
system which can be used to express the CTCS, through the CTAW image, the Tang poetry,
and Chinese traditional colors. The system in chapter 7 is mainly through the interactive
progressing to help people learn and understand how to use CTCS and the backgroundknowledge of CTCC.

3.5 Data Collection Approaches
Due to the COVID-19 pandemic that collecting data is a very difficult task. For this,according to the development status of the epidemic, two ways of data collection had been
adopted, collection online and offline that are to form a mutually complementary model.

3.5.1 Online Collection
This part mainly adopts two ways to carry on the online questionnaire experiment.
First, The Wen Juan website(www.Wenjuan.com), this website can create a customizable
questionnaire.

Based on the website, this dissertation has created 5 items of online

questionnaires and the evaluation experiment, and the experimental result of the comparison
questionnaire for chapter 4. The system satisfaction questionnaire is based upon the Likert scale
for chapter 6. In chapter 7, Semantic Relationship between sensibility adjective with CTC,
Semantic Relationship between CTC and CTP, and Interaction System Satisfaction Survey
Chapter 4, Results Comparison and Evaluation

49

The Link: https://www.wenjuan.com/s/UZBZJvzcGI/, as shown in Figure 3-8.

Fig. 3-8 Chapter 4, Results Comparison and Evaluation

Chapter 6, System Satisfaction Survey
The Link: https://www.wenjuan.com/s/UZBZJv6J9DA/, as shown in Figure 3-9.

Fig. 3-9 Chapter 6, System Satisfaction Survey

Chapter 7, 1. Semantic Relationship between Chinese traditional color (CTC) andTang poetry (TP). 2. The interaction system satisfaction survey.
Chapter 7, Semantic Relationship between CTAW and adjective.

50

The Link: https://www.wenjuan.com/s/ueaQVjB/, as shown in Figure 3-10.

Fig. 3-10 Chapter 7, Semantic Relationship between CTC and TP

Second, two websites had been found for chapter 4, and chapter 6 that can collect data andupload the collected data to the dataset for this research.
Chapter 4, Color Extraction Website
The Link: http://114.55.166.12:23225/color/index.html, as shown in Figure 3-11.

Fig. 3-11 Chapter 4, Color Extraction Website

51

Chapter 6, High-Speed Railway Interaction Website
The Link: http://114.55.166.12:23225/autocolor/index.html, as shown in Figure 3-12.

Fig. 3-12 Chapter 6, High-Speed Railway Interaction Website

3.5.2 Offline Collection

Fig. 3-13 Part of Offline Experiment Photos

This part mainly adopts the form of field visit experiment and exchange dialogue inquiry.
For chapter 5, the laptop computer with experimental software has been taken to the school, thecorporations, and the hospital to ask for help with the experiment and data collection. For
52

chapter 7, the VR system built in this work that had been taken in mobile hard disk drive to theschool to experiment. Part of the experimental photos is shown in Figure 3-13.

53

CHAPTER 4 An Extraction Approach of Chinese
Traditional

SchemeColorsTraditional Artwork

4.1 Introduction
4.2 Research Method
4.3 Color scheme Extraction
4.4 Evaluation
4.5 Result
4.6 Discussion and Limitation
4.7 Conclusion and Future Work

54

Based

on

ChineseThe CTCC and the CTCH are numerous and complicated, and there are lots of differencesin various historical stages, due to the massive volume of it that is difficult to digitalization,
which is for the conservation aim. To better conserve and inherit CTCC and CTCH, it isessential to follow and combination the modern chromatic science and color standards. In thischapter, a method had been proposed which focused on the extraction of CTCS. Secondly, theresults that compare with the existing color extraction methods, proved that the method in thisstudy can obtain more acceptable visual perception from participants. Third, through theextraction method the CTCH database, and website application had been built up.

4.1 Introduction
CTCC and CTCH is long and brand-new topic. Today, it still has a far-reaching impact oncontemporary Chinese color culture and Asian color culture. (Louise, 2015). In Chinese
traditional philosophical values, the philosophical concepts of Yin-Yang and the Wu-Xing thatthe five kinds of the element which are the Gold, the Wood, the Water, the Fire, the Earth are
the basis and foundation that the construction of all things in the world. (Du & Wang, 2019)，
This kind of aesthetic concept has lasted for more than 2500 years in China, and the color
combination in the form of five-element is the most commonly used expression of CTCH. In
the traditional five elements, five-colors refer to the category of color collocation composed offive. It is usually expressed as 青 (the blue or cyan), 赤 (the red), 黄 (the yellow), 白 (thewhite) and 黑 (the black) (M. S. Lee et al., 2012). The way of Chinese traditional color
matching is not only satisfied with the beauty of human vision but also a unique view ofaesthetic cognition influenced by Chinese traditional culture. Unfortunately, there is not anappropriately quantitative digitalization method that concentrates on the characteristic of CTCH
and CTCS.
The viewpoint of this research, the first reason is that there are many different color
standards for Chinese traditional color system, but the Chinese national traditional color
standard only contains 164 colors which is declared in 2015 (GB/T 31430-2015), The color
standard of the Chinese traditional color is less than hundreds or thousands of color codes
compared with the international color system such as the PANTONE color system, the PCCS
color system, and NCS color system, which is far from enough for the research examples ofChinese traditional colors. For example, 625 colors are involved in the chromatogram of 1957,
which is the earliest available literature on the expression of Chinese traditional colors. The
55

traditional Color of China, published by Japan in 1986, contains 320 colors. The Chinese Colorsystem, published in 1995, contains 1338 colors. The Chinese traditional Color name andChroma characteristics, published in 2015, contains 164 colors. Most of these projects try toquantify the accuracy of Chinese traditional color, but up to now, there is still not a relatively
perfect color matching system of Chinese traditional color. The reason is that the CTCC and
CTCH are numerous and complicated, the span of the artistic style contained in the historicalstage is very different, and it is difficult to divide the artistic style characteristics of different
periods. In addition, massive historical matters need to be restored and conserved, and the main
reason is that none of them can be used as a common standard way of quantification which
involved all colors and can provide shared and constantly updated quantitative data.
The second reason is that there is more theoretical research, but less applied research for
CTCH. Fortunately, scholars have become aware of made corresponding contributions to thisin recent years. The study presented the application of Han Dynasty cultural elements to modern
product design by color science (L. Chen et al., 2014). The research is based on the K-Meansclustering method the color scheme of Yuexiu dress in Chinese traditional color culture is
extracted (Zhe et al., 2019). The method based on the PAD model explores the relationshipbetween CTCS and human perceptual cognition through psychological methods. (Xu, 2020).
The study through Pantone Color Guide and ImageJ explores the traditional color matchingmode of Yi apparel in Chinese traditional color culture (Ji et al., 2020). The work proposed acolor optimization model, and the aesthetic optimization process of CTCS (Shi et al., 2021).
The above research provides new ideas for exploring CTCC and CTCH. Therefore, the view inthis work had been considered that, for the inheritance and development of Chinese traditional
color culture, it is essential to adopt the mixture approach to seek and study the CTCC and
CTCH with chromatology with computer graphics and other related disciplines.
Concretely, this work is to seek a manner that could be used to acquisition and extract thecomposition and component of CTCH. Through the works had carried out two contributions:First, the work had proposed the model focusing on extracting CTCS. Compared with theexisting methods, this model can more effectively take the CHCS information from CTAW, and
it is an extension as a website color extraction tool for display and use. Second, a quantitative
database of CTCS data based on the extraction results of the model is established. In the work
process, the database of CTCH mainly includes Chinese traditional apparel, Chinese traditional56

auspicious pattern, Chinese traditional embroidery fabric, Chinese traditional minority pattern,
and makes a preliminary classification based on color relative to each category.
Some results and methods had been compared by literature review. It is found that thecolor extraction methods or calculation models in the related research can provide an effective
solution, but the color extraction results of Chinese traditional artworks are not ideal. In addition,
it is worth noting that when evaluating the results of the color scheme, the quality of thereference theme is based on the visual and subjective comparison, which may be affected bycultural and social aspects (Pierce et al., 2003).

4.2 Research Method
Overview
In general, the methods had been proposed in this study include the three aspects of works:
1. Collect and sort out verifiable images of CTAW for classification, and sample data extraction
with the Chinese national color standard. 2. The fundamental dataset has been built for training
Mask R-CNN. 3. The color extraction website tool that focuses on CTCS had been established.
Primarily, regarding the research objective which is the images of Chinese traditional
artwork (CTAW) had been collected and extracted as the foundation. Equally, the Chinese
national color standard had been adopted, this procedure ensured the results of CTCS veracity.
Subsequently, the images are segmented by Mask R-CNN which is a general framework for
object instance segmentation ( Kaiming He, 2017). This work is adopted the Mask R-CNN to
identify the areas in the image that need to be eliminated. Whereafter, the color scheme isextracted through the K-means from the image region which had been segmented by Mask RCNN. Additionally, it is difficult to generate the CTCS accurately only by the K-means. This
work had adopted W-Gan_gp which has performed better than standard WGAN (Gulrajani,n.d.). The W-Gan_gp can enhance the CTCS which was extracted from the CTAW image by
K-means with Mask R-CNN.

4.2.1 Research Sample
a. research object
57

Primarily, the images of the CTAW had been taken as the object of study, and six image
categories were set up according to the types, including Chinese traditional costumes, Chinese
traditional auspicious patterns, Chinese traditional embroidery fabrics, Chinese traditional
minority patterns, and Chinese Dunhuang patterns, Tangka, etc. the total numbers of 10,000
images are from the official resource which is The Palace Museum of Beijing, National
Museum of China, The Palace Museum of Taipei, Famous Paintings of The Forbidden City,
National Art Museum of China, Nanjing Museum, The British Museum, The FitzwilliamMuseum, the website link please refers the chapter 3.3.1. And the resolution of each image ishigher than 300 dpi. The part of the sample is shown in Figure 4-1.

Fig. 4-1 Part of the Sample

58

b. National color standard
This work had been according to several Chinese national standards, link as follows, andincluding:a. Specification of colors (GB/T 3977-2008).
The link: c.gb688.cn/bzgk/gb/showGb?type=online&hcno=76064E2096BDD1ECB81714EE4328DF4C
b. Uniform color space and color difference formula (GB/T 7921-2008).
The link: c.gb688.cn/bzgk/gb/showGb?type=online&hcno=77970C89C6821735F77687C32FDDBFF6
c. Names and colorimetric characteristics of traditional colors in China (GB/T 31430-2015).
The link: c.gb688.cn/bzgk/gb/showGb?type=online&hcno=6EE6FE2D911C427227830938D027D447

4.2.2 Color Visualized and Standardized
Due to (Names and colorimetric characteristics of traditional colors in China GB/T
31430-2015) which is shown the 164 colors of Chinese traditional color (CTC) by color
coordinate with CIE1931 standard. In the CIE1931 standard chromaticity system, the color isexpressed by the stimulus value Y and the chromaticity coordinate x10, y10. Therefore, those164 of CTC can`t be used directly, it needs to be transformed from color coordinate to the LAB
or RGB format. And this procedure had according to two kinds of Chinese national standardsof color which are the specification of colors standard (GB/T 3977-2008) and uniform color
space and color difference formula (GB/T 7921-2008).
The specific steps of color space transformation are shown in Figure 4-2, and as follows:
Step 1. transforms CIE 1936 that is the x10, y10, Y of the standard color is converted into thetristimulus value X, Y, Z of the CIE1964, according to the preconditions the D65 which
provides the corresponding coordinates for CIE standard lighting in the traditional Chinesecolor standard (GB/T 31430-2015). Step 2. Transform CIE 1936 of the tristimulus value to
CIE1964 X, Y, Z. Step 3. transform the CIE 1964 (X, Y, Z) to CIE 1976 (Lab) according to the59conditions as the D65. The CTC results of the color coordinate, the LAB, and the RGB are
shown in Appendix Table Ⅰ.

Fig. 4-2 Transform Procedure

4.2.3 Sample of Extraction Data
The work had been done through the color range of Chinese traditional color palette to
extract the color scheme of each image which is the construction by Five-color scheme. In thework process, mainly use the Photoshop software version 2021 to extract the images by hand.
According to the 164 of CTC data from results of Appendix Table Ⅰ, the palette in photoshop
was established as a standard color palette that was used for extracting the samples. Notably,
during the extraction process, the color sample extraction point is set to the average area by 5x 5 with a middle value of color (the average color value inside the circle radius is 5), the caseis shown in Figure 4-3.
The meaning of this is to make sure that the median of the color value relative to the region
in the color space is extracted, not a specific point in it. After that, each image extraction data
was saved in an excel table, a total of 2000 Five-color schemes of images were extracted.

60After discussion with two color experts and two designers, 300 inappropriate color
extraction results were excluded which are not suitable for the color expert visual cognitive andprofessional viewpoint to CTCH. Finally, only 800 images results were regarded as the training
data samples to the color extraction model.

Fig. 4-3 The Sample with Extraction Process

4.3 Color Scheme Extraction
Through the reproduction of the existing color extraction methods, it is found that the color
can only be raised for the whole image, and it is difficult to exclude unnecessary areas, whichleads to the problem of inaccurate extraction of CTCS. To solve this problem, Mask R-CNN
had been used to eliminate unessential areas in the image. Mask R-CNN is a general instancesegmentation network (He K, 2017). The network can be divided into two branches, the firstbranch is the structure of the original Faster R-CNN (Ren S, 2015), which is used for theclassification of candidate windows and window coordinate regression, and the second branch
is the full convolution network FCN (Long J, 2015), which is used to predict and segment themask for each region of interest. The loss function of Mask R-CNN is shown in equation (4-1).

61

𝐿𝐿 = 𝐿𝐿_cls + 𝐿𝐿_𝑏𝑏𝑏𝑏𝑏𝑏 + 𝐿𝐿_𝑚𝑚𝑚𝑚𝑚𝑚𝑚𝑚(4-1)

L_cls is the classification error; L_box is the detection error of the frame; L_mask is thesegmentation error. After that image feature annotation, the image data annotated in this work
had been imported, and the image was segmented by Mask R-CNN to identify the target areas.
This process is shown in equation (4-2).
(4-2)

𝑅𝑅 = 𝑀𝑀（𝑖𝑖）

The 𝑅𝑅 is the binary mask map means the segmentation result of the image after training

the model. The 𝑀𝑀 means the trained model for Mask R-CNN. The 𝑖𝑖 means the input images
for the model. The 𝑅𝑅 is the mask map corresponding to the two categories that are desired

regions and excluded regions. And the work designs a CTCH image enhancement network
based on WGAN_gp (Gulrajani, n.d.), and the objective function of the network is shown inequation (4-3).

𝐿𝐿= 𝐸𝐸 [𝐷𝐷(𝑥𝑥�)] − 𝐸𝐸 [𝐷𝐷(𝑥𝑥)] + 𝜆𝜆 𝐸𝐸 [(||𝛻𝛻𝑥𝑥� 𝐷𝐷(𝑥𝑥�)||2 − 1)2 ]𝑥𝑥�~𝑃𝑃𝑔𝑔

𝑥𝑥�~𝑃𝑃𝑥𝑥�

𝑥𝑥~𝑃𝑃𝑟𝑟(4-3)

E [D(x� )] − E [D(x)] is the objective function of W-GAN, λ E [(||∇x� D(x� )||2 −x�~Pgx�~Px�

x~Pr1)2 ] is the gradient penalty function used in W-GAN_gp. Pr is the data distribution and
𝑃𝑃𝑔𝑔 is the once again model distribution implicitly by 𝑥𝑥� . The D is the set of 1-Lipschitz
functions (Gulrajani, n.d.). The x is the expected value. The λ is the hyperparameter.

4.4 Evaluation
4.4.1 Extraction Methods Compare
To verify the effectiveness of the proposed results, this study reproduced and visualized
the results of color extraction, included other three methods to compare with the researchmethod in this work. Specifically, the four methods are (MMCQ), (K-means), (Mask-R-CNN,
and K-means) and our method included (Mask-R-CNN, K-means, and Wgan_gp). Additionally,62this study made a questionnaire through the Wen Juan website, which contains the four-level
scale of 100 questions, each corresponding to four options, and each option corresponds to theresults of the reproduced sample, as shown in Figure 4-4. The experimental website link is asfollows:
https://www.wenjuan.com/s/UZBZJvzcGI/
It should be emphasized that, for the credibility and objectivity of the experiment results,
we did not use any words or texts to explain the content of the image, but only asked theexperimenters to judge according to their visual senses. Participants need to choose the heart
icon in the sequence according to their cognition and feeling as the color scheme which are they
think is more suitable with the image. The question is: ‘Which scheme is more in line with yourvisual perception and matches the content of the image’.

Fig. 4-4 Part of the experimental webpage

In the experiment period, a public questionnaire was distributed through the WeChat
platform and Wen Juan platform, and 61 portions were received within three days. Through this63

result, it can be proved that compared with the other three methods, the method of D (MaskRCNN+K-menas+Wgan_gp) had a high rate of selection by the participants. The comparedresults as shown in Chart 4-1.
Chart. 4-1 Extraction Method Compare(y) Select Frequency

60
50
40
30
20
10
0

1

5

9 13 17 21 25 29 33 37 41 45 49 53 57 61 65 69 73 77 81 85 89 93 97(x) Question sequence
A.MMCQ

B.K-means

C.Mask-Rcnn+Kmeans

D.Mask-Rcnn+Kmeans+Wgan_gp

Due to no ground truth can be as the comparison target and standard, this study is based
upon the human visual perception to compare the results of several research methods and verify
which method is better (S. Lin & Hanrahan, 2013b). Through the results of chart 1, it can beseen and proved that the CTHS extracted by the method of D (Mask-RCNN+Kmenas+Wgan_gp) has a higher degree of color scheme for human visual perception, and theother three methods also have the well of select frequency rate, but based on the experimental
results, the three methods do not have much difference in the dimension of human perception.

4.4.2 Brainwave Test
Due to the basic definition of color harmony is a kind of pleasure feeling when seeing asuitable color scheme that belongs to the aesthetic. The area of the brain will generate mapping
feedback when humans feel pleasant (Saha et al., 2015). The pleasant feedback is mainly
expressed by Beta (β) and Gamma (γ) of human brain waves (Xing et al., 2019).
The experiment computer parameter that the CPU is I7-9700K 3.6 GHz. The memory typeis DDR4 16G 3200MHz, GPU NVIDIA 2080. The VR equipment is HTC VIVE pro, the brain
wave testing equipment is LOOXID, as shown in Figure 4-5.

64

Fig.4-5 The VIVE pro and LOOXIDThis part aims to further test the results from the method, whether it accords with theaesthetic cognition of people, this part carries on the brainwave test through the brainwave
instrument. In this section, 6 Chinese traditional art images and their color scheme as the
samples with great hue differences are selected as experimental subjects. The experimental
environment is built on the UNITY platform. Based on the source application provided by
LOOXID, the experimental scene can real-time generate the corresponding brainwave data, acase with a sample with brainwave is shown in Figure 4-6.

Fig. 4-6 case with sample with brainwaves
A total of 6 participants took part in the experiment. Each participant was asked to wear abrainwave device and observe that the image was recorded in the experimental video for 20
seconds, and the brainwave data with the highest concentration in the video was intercepted.
Based on the overall amplitude and trend of the data, the analysis of the data results showedthat the participant's beta-wave and gamma-wave were significantly activated. For more detailsof the six cases with samples, please refer to appendix II. Based upon the test data, the color
65schemes produced by this method also can produce pleasant feedback to the participants, which
proves that the color scheme results extraction method proposed by this study is also satisfied
with aesthetic cognition.

4.5 Result
4.5.1 Image Segmentation Result
In this part, it is vital to manually label the original image as the preparatory work fortraining data. And a total of 1172 images are labeled as the training data. The red mask is thedesired region and the cyan mask is the excluded region. As the presentation sample, we show
part of the labeling results that are shown in Figure 4-7.

Fig. 4-7 Image segmentation results

4.5.2 Image Extraction Result
In this part, to show the results of this study more intuitively, the four methods of resultthat are the (MMCQ) as the M, (K-means) as the K, (Mask-Rcnn and K-means) as the MR, and66

our method included (Mask-R-CNN, K-means, and Wgan_gp) as the O, the result is shown in
Figure 4-8.

Fig. 4-8 The Results

4.5.3 CTCS Extraction Web Tool
Based on the proposed extraction method, this study constructs a web application tool for
Chinese traditional color schemes. This web color extraction tool only needs two simple steps
to extract colors effectively. First, the user needs to upload the prepared image with the upload
button. Second, click the generation button to display the color scheme of the image on the web
page, the webpage as shown in Figure 4-9. Additionally, it can be used to increase the data
range through the process of accumulating data continuously for the next period of work.

The website link is as follows:67http://114.55.166.12:23225/color/index.html

Fig. 4-9 Color Scheme Extraction Webpage

4.6 Discussion and Limitation
The core purpose of this study is to explore the composition of CTCH and CTCS. The
color extraction method and CTCS quantitative database had been established. Based upon thedata, the evaluation and comparison results show that compared with the other three methods,
the method of this study had a high rate of selection by the experiment participants. From thebrainwave test, the color scheme results from the extraction method proposed by this study arealso satisfied with aesthetic cognition. And the quantitative database of CTCS established inthis study can provide the basis for related research in the future.
However, CTCC and CTCH are too complex and tedious, and it needs to be sorted out
step by step and subdivided into various categories, due to the enormous volume of the CTAW
it is. At the same time, the major limitation of this study is the amount of data used for training.
To achieve high color extraction accuracy, two larger training data sets are needed, which isalso a common problem encountered by all color extraction algorithms at present.

4.7 Conclusion and Future Work
The motivation of this study is to inherit Chinese traditional color culture. By summarizing
the past color improvement methods, it is concluded that the framework of the method which
is proposed by this work, is more suitable for establishing the color improvement model of this68

study. In a summary, this study mainly completed four tasks: 1. An example is introduced tothe segmented network to separate the unessential content from the background of images. 2.
A novel algorithm model of the image color scheme extraction method for the CTCC and CTCH
is specially designed. The results show that the more accurate than the previous methods in our
method for Chinese traditional artwork, and a web application of color extraction tool isestablished based on the color extraction model. 3. The color standard index is added to thisstudy, which is more targeted and accurate than the results of previous studies. 4. Through thecolor improvement method in the study, a basic quantitative database of Chinese traditional
color-matching data is constructed. In the summary, this integrated process absorbs theadvantages of the three models, improves the efficiency compared with using each model alone
and preliminarily solves the comprehensive problem of generation and optimization of Chinese
traditional color schemes.
For future work, it will consider collecting more verifiable image samples from various
historical periods in China and further classifying each category into subcategories. In addition,
it is worth explaining and paying attention that, the basic work of Chinese traditional color inpigment material and qualitative analysis needs to be further improved. This item explores thecomposition of CTCH and CTCS, but the accuracy of color value and the range of sample dataneed to be further supplemented and calibrated. In future research, it will be supplemented andimproved according to the relevant research of Chinese traditional color.

69

CHAPTER 5 Contemporary Chinese Traditional
Color Harmony Aesthetic Renew Based on the Deep
Learning Approach

5.1 Introduction
5.2 Method
5.3 Research Process
5.4 Result and Evaluation
5.5 Discussion and Conclusion

70

There have differences in aesthetic concepts, ideas, and aesthetic attitudes between the
East and the West. Regards CTCH, how to optimize in an objective way to cater to thedevelopment of the epoch. It is essential to satisfy the demands of the aesthetic satisfaction ofmodern people. For this goal, in this study, a new approach had been proposed that could
generate CTCS and optimize CTCH. Based on the visual perception experiment, the work had
been obtained the visual perception score of CTAW. Usage the participant's sensation scores
data as an input baseline, and COLOUR LOVERS website data as the general aesthetic scores,
to seek a general visual perception rule which could cater to the aesthetics requirement ofmodern people. This chapter proposes a systematic process of CTCS to seek an approach toinherit and develop for CTCC and CTCH.

5.1 Introduction
Human beings continue to pursue beauty, exploring and studying beauty in various ways
in different periods. They try to give new dimensions and definitions to beauty by different
means and ways, but these definitions are full of opposites and unity. Western aesthetics has
explored beauty through philosophical speculation and mathematical formulas since ancient
Greece. On the other hand, oriental aesthetics pursues the natural beauty of the unity of man
and nature from the CTCC. The study of artistic use of color based on sensory cognition has along item. Early color studies originated from the analysis of visual perception. Although thestudy of color has been in the stage of simple empirical cognition for the long term, people havetheir understanding and treatment of color in the context of both Eastern and Western cultures.
From the Spring and Autumn and warring States period, the Chinese ancients establisheda set of Five-colors theory, that on the impact of the five elements theory. Although this theory
is only an application approach of the concept of Yin-Yang and Five-elements in the chromatic
work or an isomorphic paradigm in color cognition, it is a significant concept of Chinese
philosophy that emphasizes the balanced way via the white-black color. This method of
isomorphism between color and philosophical concepts, but has been affecting the color
aesthetic emotion of the Chinese people. The theory of the birth of the Five-elements is thebasic model for the Chinese ancients to explain many natural phenomena. The composition of
the five kinds of primary colors in the five-color theory is the same as the Five-elements andother theories.

71But as the proverb says, every coin has two sides, and CTCC and CTCH is no exception,is has both advantage and disadvantage. With the development of society and the satisfactionof basic matters, people begin to pursue the pleasure of the spiritual dimension. Whether the
traditional aesthetic way is still suitable for the contemporary society and people's aesthetic
needs? As stated in Maslow's theory, the demand of humans is divided into the satisfaction ofmatter and spirit.
Confliction of aesthetic view and concept, the theory of color harmony in the 19th century,
the large number of color scheme relations which are considered to have no harmonious
relationship have been enumerated, and the color combinations with intermediate color
differences are called unfeatured color combinations. The color scheme of the yellow and thegreen, the blue, and the green are called disharmonious lightness relations. The color scheme
relationship with harmonious nature should be similar to harmonic and contrastive harmonic.
(Nemcsics, 2009a).The combination of red and yellow, green and yellow is the most barren
color matching relationship (Fang et al., 2017).
On the other hand, two kinds of color scheme relationships can create harmony color
scheme. First, the hue of color scheme with a specific angle, as the 15°, 45°, 90°, 180° thatangle in the color wheel is suitable to form a harmonious color scheme, as shown in Figure 51. Second, the color scheme with a small difference in lightness with colors, this way also canstruct the harmonious sensation (Primož Weingerl & Javoršek, 2018). On the contrary, the color

Fig. 5-1 Harmonious Collocation72

scheme constructed by adjacent methods in the hue plate will produce poor visual effects. Suchas red and yellow, red, and purple, scarlet red and green, yellow, crimson-purple, yellow-orange,
and turquoise, these colors are matched in ways that do not have the harmony meaning inaesthetic view of western early 20 century.
Nevertheless, the color scheme methods used in Chinese traditional artworks are thecollocation of bright colors such as red, green, and purple with yellow, and the combination ofyellow with blue and green. Among them, the combination of red and yellow is the color
scheme that often appears in Chinese traditional artworks, and these color matching methods
are criticized by western scholars. Simultaneously, in the Japanese traditional color scheme, the
YAMABUKI collocation which is the combination of yellow and green, and the collocation of
purple and green, some cases are shown in Figure 5-2. These color scheme relationships are allintermediate color collocation relations which is belong to color harmony (M. S. Lee et al.,2012). The cognition of this non-harmonious color relationship has not changed in essence until
the 20th century, which shows that the way of color collocation and aesthetic tendency between
the East and the West have their uniqueness. Accordingly, in the view of this chapter think thattraditional color culture is based on ancient aesthetic concepts and traditional cultural customs,
traditional color culture should meet the needs of the times and modern aesthetic cognition.

Fig. 5-2

Traditional Painting Cases

Meanwhile, culture as a tacit phenomenon will be concealed by universal conclusions
drawn from explicit knowledge, which should be studied based on both qualitative andquantitative research approaches (Suppiah & Sandhu, 2011). On the other hand, human is themain body of spreading and inheriting culture which is influenced by a variety of subjective
and objective factors, and aesthetic emotions depend on visual features (Pierce et al., 2003).
73

Due to the complexity of the process, this can't be done overnight (Ishai et al., 2007). Therefore,
this research aims to explore the general laws between CTCC and human aesthetic perception,and three research questions were asked in this research. Q1, how do modern humans perceive
the color scheme that is considered to belong to the aesthetics or harmony of the CTCC? Q2,
how to objectively assess the esthetic perception level or score of the CTCS. Q3, how CTCS
can be optimized can make it satisfied with the aesthetic perception of modern humans.
In this work, the Chinese traditional artworks were regard the sample and color scheme as
the object. Secondly, the visual characteristics scores of CTCS were obtained from 110
participants, that experimenters had been asked to evaluate samples of the color scheme, thatthrough subjective aesthetic perception way to acquire the score of CTCS. After the visualexperiments, mathematical modeling was conducted to explore the relationship between thevisual perception of modern humans and the characteristics of CTCS. Thirdly, an optimization
process of the CTCS has been established with data analysis, comparison, and evaluation. This
chapter aims to seek a way to generate the CTCS and optimize the CTCH that could make themmore carter with the aesthetic of contemporary humans.

5.2 Research Method
Overview
Several works had been compared, the method of Lasso regression model has better
performance for color scheme extraction, but from the results of reproduction that the image
themes extracted by the original Lasso regression model are not suitable for CTHS, due to color
scheme by original Lasso regression model has unsuitable color by the view of two colors
experts and two designers, please refer the detail with the red box in results in Figure 5-3, andit not carter with cognizing for participants. In the view of this work, this is mainly because thecandidate colors in the Lasso regression model are extracted by K-means, and the mean value
is inevitably used in the color selection process through K-means extraction, outliers or noisedata will have a great impact on the means.

74Fig. 5-3 Results of Reproduction

5.2.1 Research Sample Section
The Chinese traditional artworks are the research sample. First, the work input extraction
data from chapter 4 retained the Lasso regression model. Due to the large amount range ofChinese traditional artworks, according to the literature and expert suggestions, apparel was
regarded as the important element and objective of the traditional culture (L. Chen et al., 2014).
Consequently, the apparel was selected as the experimental sample for the beginning of thework.
The work took the types of apparel in Chinese traditional artwork as the sample objects
for this research experiment. Besides, considering that the participants would be excessively
visually fatigued in the experiment which would affect the result, we invited the experimenter
to select traditional Chinese apparel which is the most they like. Finally, based on the commentof 5 color experts that 50 images are selected as the experimental sample from traditional
Chinese apparel which is the suitable range for the experiment. The hue of each image is quite
different.

5.2.2 Research Subject
In this study, 110 Chinese adults who participated had been invited. Relevant studies haveshown that human perception of color is the most acute between the ages of 20 and 30(Nemcsics, 2009b). The average age of the participants is 25 years old. According to theoccupation, 41 students, 10 teachers, and 10 staff doctors. They come from school, company,
75and hospital in China, including 41 experimenters with professional design experiencebackgrounds, 59 non-design professional experimenters, and 10 experts. Before the experiment,each participant had been confirmed no issue with color-blindness using the Ishihara Color
Vision Test.

5.2.3 Research Mode Architecture
To systematically solve the three sub-problems set up in the research and achieve the major
goal. An image color extract model had been proposed which focused on the CTCS. In the work,
three research models had been used to build the model architecture, as shown in Figure 5-4(A),which was the Lasso Regression Model (S. Lin & Hanrahan, 2013a), the Neural Image
Assessment (NIMA) model (Gulrajani, n.d.), as shown in Figure 5-4(B), and the Wasserstein
GAN gradient penalty (WGAN-GP) model (Gulrajani, n.d.) as shown in Figure 5-4(C).

Fig. 5-4 Architecture

In the work process. the visual aesthetic perception relationship between Chinese aesthetic
perception and the CTCS. The collected experimental data as input data for the NIMA modelthat got from chapter 4, and collected 8,743 five-color palettes with ratings on the COLOUR
LOVERS website (http://www.colourlovers.com) as the reference data for general aesthetic
evaluation, the data of participants and COLOUR LOVERS are shown in Figure 5-9. For Q3,76

that need to cater with two prerequisites, the one is how to optimize the color scheme thatbelongs to the category of traditional Chinese colors and the other that cater with the universal
aesthetic characteristics, therefore the input image data through the WGAN-GP model as thelast process and generate the sample which can satisfy the aesthetic characteristics of the color
scheme.

5.3 Research Process
5.3.1 Aesthetics Perception and Color Scheme Extraction
For Q1, firstly we experimented with the aesthetic perception characteristics of modern
people. Before the experiment, the work had been prepared a process description for theparticipants. Each participant was asked to evaluate the scheme of five-color combination
information from each one of 50 apparel images. Aesthetic cognitive behavior requires aprocess of cognition and transformation (Nemcsics, 2012),(Nemcsics, 2009a),(Nemcsics &Takács, 2013),(M. S. Lee et al., 2012). In the experiment processing, we have not set a deadline
for obtaining relatively precise experimental results. Some participant has used their computer,but the resolution ratio of the monitors is the Full HD (1920x1080, 16:9). To ensure consistency
and precision of color information in each image. All the monitors had been color corrected by
the DATACOLOR Spider which is the screen color calibration instrument, and the temperatureof the monitor is 6500k which is the common temperature for setting. The participants wereasked to give the score with each image on a 5-point scale (1 = strongly disagree, 2 = disagree,
3 = neutral, 4 = agree, 5 = strongly agree), which is the scoring scale of the COLOUR LOVER
website five-point standard. The vertical viewing angle between the monitor and the observer
was set at 90°, and the horizontal viewing angle can`t be over 15° that based on the middle ofthe screen, due to some monitor display performance is not full angle, if the view range willchange the display colors. The distance of the observer with the screen was set from 1.5 meters
to 2 meters which is the suitable distance.
To establish the relationship between modern people's aesthetic perception and Chinese
traditional color scheme, The work had been calculated 1,000 color matching features from thesix features of the image such as salience, pixel coverage, segmentation, color diversity, color
purity, and clustering statistics, and calculate the scored the traditional Chinese color scheme,
some of the features samples are shown in Figure 5-5.
77

The main steps are as follows:(1). 40 colors are extracted from the original image by K-means as candidate colors of
the image that have a similar consistency learned from the Turk-extracted method to calculate
the initial theme scheme score by using equation 5-1. (S. Lin & Hanrahan, 2013b).
1

𝑠𝑠𝑠𝑠𝑠𝑠𝑠𝑠𝑠𝑠(𝑝𝑝) = 1 − |𝐻𝐻| ∑ℎ∈𝐻𝐻

𝑑𝑑𝑑𝑑𝑑𝑑𝑑𝑑(𝑝𝑝,ℎ)𝑚𝑚𝑚𝑚𝑚𝑚 𝐷𝐷𝑖𝑖𝑖𝑖𝑖𝑖(5−1)

Where 𝑝𝑝 is one of the themes` color scheme; H is the set of topics selected by theexpert which mentioned in chapter 4; dist (𝑝𝑝, h) represents the distance between 𝑝𝑝 and h; maxDist is the maximum possible distance between the two schemes (S. Lin & Hanrahan, 2013b).

(2). By using the Lasso regression model in equation 5-2, the work can be able togenerate color schemes according to the score get from equation 5-1 and the steps go as startingwith the first color of the initial theme swatch, replace with the color in the candidate color, andrepeat this operation until the replacement of the first color in the initial theme swatch can nolonger increase the score of the initial theme scheme. Repeat the same procedure for the second
to the fifth color of the initial theme. scheme.
2

𝑚𝑚𝑚𝑚𝑚𝑚 ∑𝑖𝑖�𝑤𝑤 𝑇𝑇 𝑓𝑓𝑖𝑖 + 𝑏𝑏 − 𝑠𝑠𝑠𝑠𝑠𝑠𝑠𝑠𝑠𝑠(𝑝𝑝𝑖𝑖 )� + 𝜆𝜆‖𝑤𝑤‖1
𝑤𝑤,𝑏𝑏

(5−2)

Where 𝑖𝑖 represents 1 to1000 different topics, 𝑤𝑤 𝑇𝑇 is the weight vector, 𝑓𝑓𝑖𝑖 is the

eigenvector, 𝑏𝑏 is the bias term, 𝑝𝑝𝑖𝑖 represents the theme score and 𝜆𝜆 represent the validation
ratio constant (Primo Weingerl, 2020). Finally, the theme color schemes obtained are shown in

Figure 5-5.

78

Fig. 5-5 Visualization in Procedure

5.3.2 Assessment of the Color Scheme
To objectively evaluate the color scheme samples extracted from the input image of
traditional Chinese artworks, the work used the NIMA model (Talebi & Milanfar, 2018). Afterdata training, the NIMA model can show the score closer to the human perception level of theimage. The loss function used in this model is EMD, as shown in Equation (5-3).
1

𝑟𝑟 1/𝑟𝑟
𝐸𝐸𝐸𝐸𝐸𝐸(𝑝𝑝, 𝑝𝑝̂ ) = ( ∑𝑁𝑁
𝑘𝑘=1 |𝐶𝐶𝐶𝐶𝐹𝐹𝑝𝑝 (𝑘𝑘) − 𝐶𝐶𝐶𝐶𝐹𝐹𝑝𝑝� (𝑘𝑘)| )
𝑁𝑁

(5-3)

𝑝𝑝 is the user's rating distribution of the picture; 𝑝𝑝̂ is the user's rating distribution of thepicture predicted by the NIMA model; 𝐸𝐸𝐸𝐸𝐸𝐸(𝑝𝑝, 𝑝𝑝̂ ) indicates the minimum average distancerequired to move when the movement is completed; 𝐶𝐶𝐶𝐶𝐹𝐹𝑝𝑝 (𝑘𝑘) is the cumulative distributionfunction, N is the ordered classes of distance. 𝑟𝑟 is the parameter of gradient descent (Talebi &Milanfar, 2018). VGG16 is used as the baseline of the NIMA model.

79

The function of fully connected to the NIMA network is to classify the properties extracted
from the input image. The function of SoftMax is to convert the results of the forward
propagation of the neural network to its corresponding probability distribution. The network
input is a five-color palette, and the output is the palette's score distribution, and the palettescore is calculated according to equation (5-4).
The architecture of the NIMA network is shown in Figure 5-6. Subsequently, 11,000 fivecolor palettes with scores were collected on the COLOUR LOVERS website as the generalaesthetic evaluation reference data, and the NIMA scoring model was retrained which trainedwith 8,743 pieces of data from the COLOUR LOVERS website.

𝑢𝑢 = ∑𝑁𝑁
𝑖𝑖=1 𝑠𝑠𝑖𝑖 × 𝑝𝑝𝑠𝑠𝑖𝑖(5-4)

𝑢𝑢 means the score of the picture; 𝑠𝑠𝑖𝑖 indicates the score with 𝑠𝑠1 ≤ 𝑠𝑠𝑖𝑖 ≤ 𝑠𝑠𝑁𝑁 , 𝑠𝑠1 =1, 𝑠𝑠𝑁𝑁 = 5; 𝑝𝑝𝑠𝑠𝑖𝑖 indicates the empirical probability of the score.

Fig. 5-6 The Architecture of The NIMA Network80

5.3.3 Color Scheme Optimization
For Q3, the work had been used WGAN-GP to enhance the results of the Lasso regression
model and optimize the color scheme extracted from the image. Based on WGAN-GP, the work
designed the image color scheme enhancement network shown in Figure 5-7, and the objectivefunction of the network is shown in Equation (5-5).

𝐿𝐿= 𝐸𝐸 [𝐷𝐷(𝑥𝑥�)] − 𝐸𝐸 [𝐷𝐷(𝑥𝑥)] + 𝜆𝜆 𝐸𝐸 [(||𝛻𝛻𝑥𝑥� 𝐷𝐷(𝑥𝑥�)||2 − 1)2 ] (5−5)
𝑥𝑥�~𝑃𝑃𝑔𝑔

𝑥𝑥�~𝑃𝑃𝑥𝑥
�𝑥𝑥~𝑃𝑃𝑟𝑟

E [D(x� )] − E [D(x)] is the objective function of W-GAN, λ E [(||∇x� D(x� )||2 −x�~Pgx�~Px�

x~Pr1)2 ] is the gradient penalty function used in W-GAN_GP. Pr is the data distribution and
𝑃𝑃𝑔𝑔 is the once again model distribution implicitly by 𝑥𝑥� . The D is the set of 1-Lipschitz
functions (Gulrajani, n.d.).

Fig. 5-7 Color Scheme Enhancement Network

According to the color scheme samples obtained in the visual perception experiment data,
this is used as the training data of WGAN-GP. For each color scheme sample input to WGANGP, the network can generate 31 different color scheme samples (Talebi & Milanfar, 2018). To
obtain the best color scheme result, the NIMA model trained in section 5.4.2 is used to evaluate
and score the 31 color palettes generated by the network, and select the color combination withthe highest score as the resulting output of the image.

81

5.4 Result and Evaluation
5.4.1 Result of Aesthetics Perception and Color Extraction
Through the train the lasso regression model again with the data from chapter 4, someapparel images from the data source had been used for testing the retrained model. In thissection, 9 images with obvious hue differences are randomly selected as display samples. The
test results are shown in Figures 5-8 (A, B, C, D, E, F, G, H, I). The two kinds of pictures fromthe retraining result and the original result from chapter 4 had been printed as the verbal

Fig. 5-8 The Test Results

Fig. 5-9 Five-Color Scheme Scores82

question samples. From the verbal answer, most people can`t recognition and distinguish which
results are better.

5.4.2 Result of Color Scheme Evaluation
To verify the accuracy of the model, from the five-color scheme score, based on the fivecolor scheme score which is shown in Figure 5-9. And the average user score is set to 2.95
points as the threshold value, as shown in Figure 5-11, while we feed a series of high scorecolor schemes to model and the predicted score was located at a high score range which meanstrue positive (TP) (88) if the predicted score located in a low score range which means true
negative (TN) (257). At the second time, we feed a series of low score color schemes to ourmodel and it predicted them in a low score range which represents false negative (92), if it
predicted them in a high score range which represents false positive (88). As the result, we canget the accuracy 75.9% by (TP+TN) divided (Total number of data). And the predicteddistribution of scores from the NIMA model formed on user data is very close to the actual
distribution of scores, as shown in Figure 5-10.

Fig. 5-10 Predictive Score Distribution of the
NIMA Model

83

Fig.5-11 Color Scheme Score5.4.3 Result of Optimizing the Color Scheme.
We compare the image theme score extracted by the Lasso regression model with thatscreened by the WGAN_GP optimized NIMA model. The results show that 99 of the 100 test
images have a higher score after optimization than before. At the same time, we also draw ahistogram of the score distribution, as shown in Figure 5-12. From the histogram of the score
distribution, it can be seen that color schemes screened by the WGAN_GP optimized NIMA
model are more recognized by people which have higher scores. Among them, the picture isthe color lifting result of WGAN_GP optimized NIMA model screening of the image of a_w,
b_w, c_w, d_w, e_w, f_w, g_w, g_w, i_w, as shown in Figure 5-13. Table Ⅰ shows thecomparison of the scores of the pictures before and after optimization.

Fig. 5-12 The Histograms of the Two
Score Distributions

Fig. 5-13 After Optimization Results
84

5.5 Discussion and Conclusion
Due to the long history of China, the research sample has a large span of Chinese history,
and the styles of Chinese apparel in different periods have great differences. Although they havegeneral significance, they lack pertinence. Therefore, in the follow-up research, it is vital tonarrow the historical scope and specific categories of the research objects to present theaesthetic value contained in the traditional Chinese color system, and to meet the aesthetic needsof the modern people from the CTCC. On the other hand, in the research process, due to thecomplexity of the process of acquiring human aesthetic perception, only 50 images wereselected as experimental samples in the experiment. In future work, the procedure will be
improved by an interaction process to acquire data. To seek the general laws between CTCS
and modern people's aesthetic perception, we combed the connotation color scheme of CTCC.
And based on the aesthetic perception of the user experimental data, combined with threemodels to establish a CTCS research process in line with the modern human aesthetic
perception generally. Through comparative experiments, we have verified the effectiveness of
this research.

85

CHAPTER 6 An Interaction Web-Application ofChinese Traditional Color Harmony: The Case ofHigh-Speed Railway

6.1 Introduction
6.2 Research Method
6.3 System Overview
6.4 Experiment
6.5 Evaluation
6.6 Results
6.7 Discussion and Limitation
6.8 Conclusion

86

The construction and development of HSR in recent years have attracted the attention of
the world, but the localization and humanistic design of HSR are lacking. To cater to thedevelopment of the times and the needs of society, the color scheme concept of HSR needs tohave national and contemporary cultural connotations. In this chapter, the work is based on thecore concept of CTCC and proposed a website interactive color scheme tool for HSR oriented
CTCH. The evaluation of experimental results and user experiments show that the interactive
system can effectively generate, optimizing and obtain the harmonious and reasonable
relationship of CTCS and visual effect inside HSR. This research explores the localized designconcept of HSR, expands the application scope of CTCS, reduces the dependence of color
scheme design non-professional knowledge, and provides an effective method for inheriting
Chinese traditional color culture.

6.1 Introduction
In 2018, the total operating mileage of HSR had been beyond 29,000 kilometers, and thehistory of HSR operation exceeded two-thirds of the history of high-speed rail trains in theworld, making it the country with the longest operating mileage and the highest HSR network
density in the world. The train is a mobile living space. While bringing convenience to people,
it also provides a unique experience process. The internal space design of the HSR is not only
a design for physical space but also a process of creating an emotional experience. The comfortof passengers during travel does not only come from totally physical satisfaction, but also
includes the experience of comfort, happiness, efficiency, and convenience during the ride.
An appropriate color scheme of the interior environment will improve the experience ofpeople's activities in the surrounding conditions. Maslow believes that the process of humanneeds is a process of continuous development from low to high, from material to related religion
or the spiritual. When people are in an environment with a suitable surrounding condition, thefeeling of happiness, joviality, satisfaction, physical strength, intelligence, and even spirit canreach a certain level, they can have a good feeling in their consciousness and feel comfortable(Gawel, 1997). As a means of transportation, the design focus of the train is consistent on the
research fields of ergonomics such as improving efficiency, increasing safety, and improving
ride comfort, although the environment inside the HSR exists in a material form and affects thepsychology, emotion, and aesthetics of the passengers. But the aesthetic design of humanemotions, such as environmental beauty, has always been placed in a secondary position. With87

the improvement of living standards, consumers' demand for HSR has changed from simply
carrying the needs of transportation to more complex emotional needs. Therefore, it is essential
to gradually improve the HSR surrounding condition that meets the physical and mental
comfort of the people.
HSR is an important carrier for carrying and disseminating culture. The perceptual factorsof color play a vital role in creating an overall environmental impression and shaping a special
brand image, which is related to atmosphere or style. Related research has elaborated on theinterior color design of HSR. Xue-Lei et al. conducted a related study on HSR seats and colors
through the gray correlation analysis method(Lei & Xiao, 2019). Xu Xiao-Fei et. proposed an
HSR interior color design method with a natural color system(Lei & Xiao, 2019). Liang-Kui et.
put forward a new aesthetic design concept for HSR interior matching based on the analysis ofregional cultural characteristic elements (Liang-kui et al., 2016). ZHI et. conducted
experimental research on the color and pattern of the train seat mask and put forward design
suggestions (L. K. Jiang et al., 2011). However, there are still many imperfections which arelacking the national culture in the relevant design of China's HSR. For this research, we think
how to use and recreate traditional and national culture is one of the most important aspects forit, because the traditional culture is the resource for the future, and national culture is the markand brand of civilization of the world.
To the summary, the problem of the traditional and national color scheme in the interior
environment of HSR is mainly due to three factors: 1) Compared with the single-color element,
the visual perception and cognition formed by multi-color superposition are more complicated;
2) The environment in railway is the space of commonality, it should cater with most of thepeople, and not for the single one. The color combination is too complicated to cater to mostpeople's aesthetic preferences.; 3) The user's color preferences are very different, and it is
impossible to accurately capture and cater to (G. Hu et al., 2015). For these reasons, thisresearch aims to explore the harmonic and reasonable relationship of CTCC in the HSR`senvironment as the preliminary sample. Based on the system architecture proposed in theprevious work (L. Shi, 2021), this research proposes an HSR interior environment interaction
system based on Chinese traditional color aesthetic principles and design principles. The
purpose is to obtain the color-matching data on the CTCS characteristics suitable for humans.

886.2 Research Method
For the modern design industry, the relevant design process through digital methods cansave development costs, speed up work efficiency, and obtain better visual effects, thereby
obtaining accurate positioning of the content of the design (Shin & Westland, 2017). At thesame time, it also needs attention from the past. The function and performance of the productto the current product experience and feelings of consumers (Nagamachi, 2003). According to
the ergonomics point of view, human experience and feeling belong to the cognitive layer andperceptual layer, which mainly refers to the feeling and perception form that people produce on
objects. The environmental context will affect people's perception of surrounding things, andfeelings and emotions will affect users' perception and judgment (Y. Lin, 2019b). For color
design, from idea to finished product or environment is a complete chain connected. This chain
connects the color itself (that is, the human emotion and feeling) and production, including A.
Creative feeling and concept; B. Visual analysis of the environment and texture of the material;
C. Planning and selection, and establishing the final color concept; D. Explain the selected color;
E. Carry out production and control the selected color.
Essentially, human perception or perceptual cognition is controlled by visual quality anddetermines the evaluation of perception. Physical conditions such as the light source and color
tone are just the way to achieve visual quality. Visual comfort is the aesthetic experience of theenvironment, a continuous spatial experience that includes time and action, and includes spaceand linear continuity. The characteristics of visual content are shape, color, line, texture,
proportion, and continuity. The evaluation and quality assurance of visual quality includes
vividness, completeness, unity, sense of place, sense of belonging, etc. On the other hand, under
the condition of the same lighting, the color harmony of the color scheme method is the main
reason for the visual comfort. The environmental color configuration mainly includes color
harmony, color preference, and the perceptual characteristics of color space. Color harmony
relates to people's satisfaction with the quantity or two or more colors in parallel, which is oneof the main contents in color comfort research.
For this study, the viewpoint thinks that the single-color element could not express cultural
attributes and satisfy perceptual needs. Only through the sorting and recombination of colorgroups can the expression meaning with national characteristics be formed, and then people canget a sense of comfort. But this perceptual approach requires a process of digital quantification89and analysis. The system of this study follows the above principles and realizes the extraction,
generation, and optimization of traditional Chinese color matching cases of Five-Color
combinations through the operation logic set by this research. In addition, the system uses builtin data and logic settings to assist users in creating a space color scheme for the training
environment that they believe is beautiful and comfortable with Chinese traditional styles in ashort period.

6.3 System
6.3.1 Operation Logic
The operation logic is mainly divided into four steps: 1. The color scheme and extractionof traditional Chinese artworks, and the system generate corresponding color plates according
to the color trends of the user's selections and shift to cater to their preference, during theinteraction procedure. 2. The system will record the color matching information and provide
the generalized aesthetic score of the color palette. 3. the system will optimize and regenerate
the color scheme based upon the user operation until the user is satisfied with the color scheme.
4. Collection of interactive coloring results. The backstage of the system will record every
parameter in the user's operation process, such as user operation time, color matching
optimization times, etc., as evaluation data.

6.3.2 Algorithm Model Architecture
The model architecture is based on our previous research work (L. Shi, 2021) in chapter 5.
Three research models were used to construct the model architecture, which are the lasso
regression model (S. Lin & Hanrahan, 2013b), the Neural Image Assessment (NIMA) model(Talebi & Milanfar, 2018), and the Wasserstein GAN gradient penalty (WGAN-GP) model(Gulrajani, n.d.), please check the detail in chapter 5.

6.3.3 Model Structure
The website system of this study is built by Three.JS, which is the open-source framework.
The HSR model is based on the CHR2 second-class seat model. The training model isestablished in 3Dmax version 2020 based on the real train data.

90

The system provides customizable train internal components. The participant can throughthe interaction process with the mouse to adjust the main components of the three-dimensional
space, please check the detail, as shown in Figure 6-2, and according to their preferences forcolor matching operations and customized environmental color settings. Five customizable
color parameter group options, such as seat surface, wall, floor, ceiling, and window shadingboard, that those components are shown in Figure 6-1.

Fig. 6-1 Railway Model Structure

6.4 Experiment6.4.1. Participants
We conducted a user study and we distributed our web and operating instructions to the
public by WeChat Platform. During the experiment, the interactive program database collected
a total of 95 valid user information, including 62 males and 33 females. There are 26 people
with design or aesthetics majors and 69 people with non-design majors. Before the experiment,each participant was tested for color-blindness using the Ishihara Color Vision Test. Participants
were confirmed to have no mental illnesses or psychological problems.
The Weblink： http://114.55.166.12:23225/autocolor/index.html

91

6.4.2 User Operate Progress
Each participant needs to be complete an experiment according to the operating
instructions. The instructions that should be read before the experiment, it is shown in Appendix
Ⅱ. Otherwise, the system will not record any data and do not carry out the next-stage operation,
thus ensuring the validity of the recorded data. Specifically, the user needs to fill in the basic
information first. In the experiment, the preset image range includes 100 images, the image
attributes are three channels (R, G, B), and the resolution is greater than 300 DPI. The
participant is asked to select a favorite image from the image group provided by us and upload
it to the system, shown in Figure 6-2 (A). The system will extract and generate the CTCS
corresponding to the hue based on the image uploaded by the user, such as Figure 6-2 (B) whichis the original color scheme. The user can choose to use the color scheme or the system
automatically optimizes the color palette according to their preference, such as Figure 6-2 (C)which is the after optimized color scheme. Whereafter, users are asked to choose the color
scheme from the color palette to the environment of the HSR and use the 5-color scheme tocombine a train color scheme that they think meets their aesthetic and visual comfort, shown in
Figure 6-2 (D). In the end, participants need to fill out a questionnaire after completing theexperimental test.

Fig. 6-2 User Operate Progress92

6.5 Evaluation
6.5.1 Objective Evaluation
A. Aesthetic evaluation
In this part, the 40 experimental data had been used for the comparative evaluation. The
comparative results are the original scheme and the optimization color scheme, which is shownin chart 6-1. The 3.00 is used as the threshold for evaluating the quality of the color scheme.
From Chart 6-1, it can be seen the average value of the original results is 3.900, and the averagevalue of the optimized results is 4.100. The aesthetic score of the optimized color scheme ishigher than the result of the direct color scheme,

4.5
4.4
4.3
4.2
4.1
4
3.9
3.8
3.7
3.6
3.5
3.4
3.3
3.2
Original

Optimization

Chart. 6-1 The Score of Original Results and Optimization Results
B. Time evaluation
By comparing the data of 94 participants using the system with 10 participants operating
who design the project by their way, the average operating time of professionals using thissystem is 260 seconds, the average operating time of non-professionals is 170 seconds. As areference group, we have invited five design students and experts which are working with thegeneral working flow， and without using a research system. The operating time by them is
far more than 600 seconds. Therefore, through this system that it is possible to efficiently and93Chart. 6-2 Operation Time Comparison
save the time of the users. It narrows the limitation gap of requirements between professionaland non-professional backgrounds. The operation time comparison is shown in Chart 6-2.

6.5.2 System Satisfaction Evaluation
The subjective evaluation includes the 5-level scale of five questions, 1 is very dissatisfied,and 5 is very satisfied.
Q1. Is the extracted color scheme accurate by your feeling?
Q2. Is the optimized color scheme to CTCS?
Q3. Compared with the un-optimized color scheme, whether the optimized color scheme
meets your aesthetics?
Q4. Is this system helpful to you with color matching processing?
Q5. System Does it help you understand more CTCC?
The result is shown in Chart 6-3.
The system satisfaction survey, Link: https://www.wenjuan.com/s/UZBZJv6J9DA/
From the visualization result, it can be shown that regarding Q1, most experimentparticipants select 5, which proved this system can offer better color scheme results. Regarding
Q2, this result has a large dispersion, indicating that the experimenter's understanding of CTCH
is not high, resulting in uncertainty. Regarding Q3, it can be shown that the average score ranges
from 3 to 4, which proves that many participants think that the result after optimization is better
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Chart. 6-3 System Subjective Evaluation
than that without optimization, so it is proved that the optimization of CTCS is satisfied withthe aesthetic way of most participants. Regarding Q4, the result proves the system proposed inthis work is approval by participants. Regarding Q5, although the result shows that theparticipants think that the system helps them, the view of this study is that this is a superficial
phenomenon because the system only provides CTCS color matching process and images, butthere is no related text description, that can`t help them understand deeply the CTCC knowledge,
so it needs to be further improved.

6.6 Results
6.6.1 Original Scheme and Optimized Scheme
This part is the visualization reproduction of the data obtained from the experiment, that
included two aspects: 1. the original color scheme data of the image uploaded by the user, thecolor scheme on the left is the reproduction of the color original results with the blue box, as
shown in Figure 6-4. 2. the results of the color scheme data optimized by the user through thesystem, the palette, and the image on the right is the reproduction of the color scheme with the
red box, as shown in Figure 6-4.

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Fig. 6-4 Visualization Reproduction of the User Data

6.6.2 Dominant Tone and Minor Tone
The visual proportions of the dominant tone of the space color scheme and the minor tone
are the main factors that form the image of the color scheme. Based on the results of theexperimental data, we found that the number of clicks and modifications on the walls and seatsby the experimenters averaged more than 3 times, shown in Chart 6-4, which proved that theseats and walls in the HSR environment space occupy the visual focus. This conclusion isconsistent with the research results(J. Wang et al., 2021). At the same time, to further theperceptual cognition formed by the main tone and auxiliary tone of the picture, we used IRI`s(Image Research Institute Inc) perceptual cognition method of color to classify the dominant
tone and minor tone(M. S. Lee et al., 2012). Due to the limitation of the scope and quantity ofexperimental samples and data, the preliminary results are analyzed as examples. Through thesuggestions of 10 color experts, based on the partial classification results of 95 experimental
samples are shown in Figure 6-5，the left side of the color scheme which is struct by two colors

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is the Dominant Tone, and the right side of the color scheme which is struct by two colors is
the Minor Tone.

Chart. 6-4 Position Selection Frequency

Fig. 6-5 Dominant Tone and Minor Tone

6.7 Discussion and Limitation
Through the experimental results and evaluation, it is shown that the interactive system caneffectively generate, optimize, assist in creating and obtaining the CTCS for the user's HSR

97interior environment, and improve the color matching efficiency. However, there are twolimitations.
1. Limitations of the data range. Traditional Chinese color culture is extensive and profound.
Although several types of data, such as Dunhuang murals, Chinese traditional apparel, Chinese
traditional textiles, and Chinese ethnic minorities have been integrated with the work, the data
range needs to be gradually improved and supplemented with various approaches.
2. The limitations of hardware equipment. When building the website interactive system, theconditional differences in the hardware performance of each participant’s equipment that had
been considered, to ensure the accuracy of the color value and improve the fluency ofexperimental operations, the work reduced the interactive system visual effects and material
effects. This work reduced the visual effect in an interactive environment, the fact had been
considered, that the performance of users` computers limitation which may be operating withhigh visual quality, therefore website system had a low setting with visual effect. In the future,
the work will consider improving the visual effect of the interactive environment on the premiseof ensuring the fluency of the system.

6.8 Conclusion
The focus of this research is to explore a method of integration and blending, namely color
quantification and interactive design, to expand the scope of application of CTCS systems. The
two systems proposed by the research simplify the process of interactive operation. The uniquecolors of traditional Chinese culture are coordinated with design elements and design guidelines,
and through the behavioral process of human-computer interaction, they can be transformed
into each other and conform to human aesthetic preferences. Reduced the dependence of color
scheme design on professional knowledge, improved the efficiency of color scheme design,obtained train color scheme data with CTCS characteristics, and carried out preliminary
quantification of perceptual factors.
The research proposed a systematic method, which can provide more exploration ways
through the conversion of models and contents. Because the CTCS method is not only satisfied
with the human visual pleasure, it is a kind of aesthetic perception.

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This unique insight is precise due to the continuation and inheritance of culture andcivilization that it has gradually improved and formed the cornerstone of today’s Eastern
civilization. Color culture is an important means of communication. CTCC needs tocontinuously improve basic work and deepen modern people. The cognition and understandingof traditional color culture can continue to be inherited and developed.
In this research, the core work is focused and shown on interaction applications, but it is
the caution that this article guides this interactive application through Chinese traditional
aesthetic concepts and principles that are abstraction and complication. Through the process
can provide the transformation of Chinese traditional aesthetics from theory to practice forinteraction applications. In consequence, this work is utilized the interaction application way toshow how to renew and use Chinese traditional color harmony with the specific area.

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CHAPTER 7 A Virtual Reality Interaction Learning
Application of Chinese Traditional Color Harmony

7.1 Introduction
7.2 Design ideal, Conception, and Principle
7.3 Research Method
7.4 Interaction Experiment
7.5 Evaluation
7.6 Discussion and limitation
7.7 Conclusion

100Due to the limitation of visualization in chapter 6, to further streamline and optimize theuser interaction process with knowledge transformation, this chapter proposed an interaction
auxiliary learning application based on the two layers of semantic relations data, and theapplication system can assist the public to learn and understand CTCC and CTCH. First,
through the participation experiment, two semantic relations had been established, that is thesemantic relationship between sensation image and CTCS, Chinese traditional color, andChinese Tang poetry. Based on the data of two semantic relations, the interactive virtual reality
application is established which can help people to learn the cultural meaning of CTCC. By
evaluating experimental results, it is proved people's interest in CTCH by the interactive VR
application. It can help and assist people learn and understanding the CTCC and CTCH
effectively.

7.1 Introduction
CTCC and CTCH are confronted with development problems. The literature has been
illustrated in the first chapter. simultaneously, the more important reason is that contemporary
Chinese people ignore the traditional culture for some reasons. Notably, CTCC and CTCH needa new approach to let contemporary people understand its meaning and aesthetic concepts andto develop and popularize this way of culture. The combination of color research and digitaltechnology is undoubtedly the important development direction of CTCH for the future (Zeng,2014). Additionally, CTCC and CTCH needed an understandable approach to make people
know the brilliant cultural history of the past.
Similarly, the process of knowledge transfer and transformation is also a difficult andtedious issue. It is worth noting that, the best way to transform and improve the study andlearning approach is to make the process more fun and interesting to users. Additionally, if thisprocess could create a sense of physical and mental comfort, it will also increase acceptance ofthe process for people. With the emergence and popularization of virtual reality technology, thisstudy believes that interactive processes and virtual reality technology can be used to increase
the interaction in the process of knowledge transfer and transformation to make it interesting
and funny.
As consequence, this chapter constructs two semantic relations as the data basis of the101system and then establishes two layers of semantic relations, namely, the semantic relationshipbetween adjectives and Chinese traditional colors. The semantic relationship between
traditional color and ancient poetry. The interactive application system of this research isestablished through these two semantic relations. Finally, based on the semantic relations datafrom sensibility by people, an auxiliary interactive learning system of Chinese traditional colorand culture is constructed, which adds interest and interaction to the process of learning andunderstanding. At the same time, it enables participants to acquire knowledge and increase theirunderstanding of it.

7.2 Design Ideal, Concept, and Principle
7.2.1 Knowledge Transformation
Learning is defined as the process of gaining knowledge that belongs to the cause and theeffect relationships (Shrivastava, 1983). In the process of knowledge transformation, it isnecessary to elaborate the knowledge, identify the various representations of the corresponding
concepts, and reshape the knowledge into a form that can be accepted and understood.
(Shulman, 1987). The transformation of knowledge includes three stages: interpretation,
representation, and adaptation (Wilson, Shulman, & Richert, 1987). From the perspective ofcognitive science, knowledge must be organized into useful structures (Howard, 1987).

Fig.7-1 Knowledge Transformation102Knowledge is a process of transformation from a recessive state to a dominant state. Therefore,
the tacit knowledge of CTCC and CTCH should be transformed into an organizational form
that is convenient for the public to understand, as to promote the transformation into explicit
knowledge. If the audience lacks conscious and active acceptance in this process, then theprocess of transformation is wrong and failed (Johansson et al., 2014). Among them, the visual
information transmission is the suitable manner intuitive and effective. Therefore, this study
hopes to realize the knowledge transformation process based on the concept of the knowledgetransformation model as shown in Figure 7-1.

7.2.2 Aesthetic and Color Scheme
Whether any color combination meets the definition of harmony depends on the identityof social groups or individual preferences, and whether it is appropriate to define this group ofcolors (Westland et al., 2013). The consciousness of color aesthetics is not only closely related
to the cultural problems of various nationalities but also corresponding to various stages ofdevelopment and living standards. Color culture is the most prominent part of national culturalcharacteristics, and color can effectively express emotion (Hsiao et al., 2008).
The reasonable color combination can not only provide a pleasing visual experience but
also meet people's psychological needs (Burchett, 1991). A comfortable feeling should be theresult of balance (Gong et al., 2017b). For the balance of color scheme, the area ratio
distribution of color can be determined according to the scale values of lightness andchromaticity, and the area is inversely proportional to each other, that is, the higher the lightness
and chromaticity, the smaller the color area, and the lower the lightness and chromaticity, thelarger the color area. The color with high brightness and color can be used as a brightembellishment color, forming the better visual result of color harmony. The context of color
will affect the way people perceive color, and the result of people's perception of color willchange due to the difference in the environment (Ou et al., 2011). The visual proportions of thedominant tone of the space color scheme and the minor tone are the main factors that form theimage of the color scheme.
The influence of color on human senses has three levels. The first level is visual perception,
which is mainly affected by the physical properties of perceptual objects and is closely related
to color perception. The second level is psychological perception, and the result of perception
is influenced by the individual factors of the experimenter. The third level is based on the103interaction of the complex relationship caused by the interaction of the first two levels(Nemcsics, 2012). The visual proportions of the dominant tone of the space color scheme andthe minor tone are the main factors that form the image of the color scheme.

7.2.3 Design Principle
The application program can be used as effective teaching and learning tool (Johansson etal., 2014). Due to the further expansion of the subject field of the integration of cognitive
science into human-computer interaction, which includes cognitive psychology, artificial
intelligence linguistics, cognitive anthropology, and philosophy of mind, human-computerinteraction is one of the earliest examples of cognitive engineering (Carroll, 1997), (Treadaway,2007). Additionally, with activity theory into HCI that has sublimated nature of HCI (Bazerman,
1998). The connotation of HCI is not only to explore the relationship between man andcomputer but also to describe how the change of consciousness is directly related to the current
material and social conditions with people. With the maturity of virtual reality technology andhardware equipment (Diemer et al., 2015). The definable interactive environment provides a
medium for human-computer interaction. Embracing emotions and affect is expected to enrich
human-machine system research even more(Computer, 2005).
Based on the above point of view, this study believes that through the establishment of astandardized system process, interactive applications and VR patterns can increase theinteraction and interest in the process, and facilitate the process of knowledge transformation.
In the virtual reality environment, the human brain can creatively perceive objects that are atransformation procedure of knowledge, which can enhance intention to assist humans to learn(Shen et al., 2017). To promote the transformation of CTCC and CTCH from tacit knowledge
to explicit knowledge. Finally, to achieve the purpose of assisting non-professionals in thelearning process and increasing the cultural awareness of people with the professional.

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7.3 Research Method
Overview
The system was built by using the UNITY platform. Based on the principle of dominant
tone and the minor tone, this work had established corresponding tags with double semantic
relation, the users only need to input the preferred perceptual color with the palette of CTCS
with their preferences. At the same time, the system can display the original image of the color
scheme and the Chinese traditional poetry (CTP) and the image to achieve the aim of knowledgetransformation. The Procedures process is shown in Figure 7-2. First, the basic data of semantic
relation, as input data to the system backstage that can offer the fundamental date for two stages
in the experiment. Finally, the semantic relationship between CTC and adjectives offers thesystem backstage data connection with stage 1, for CTC colors with scene elements in stage 2.
The semantic relationship between CTC and CTP offers the system backstage tags and the data
for system output the CTP in stage 2.

Fig. 7-2 Procedure Process

7.3.1 Semantic Relationa. Semantic relationship between adjectives and CTC

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In this section, to obtain the semantic relationship between adjectives and CTC, in thework, 10 students were invited to manually classify 50 CTAW according to their subjective
feelings. In this part, a total 300 of different hue images of CTAW had been used as the selection
range.11 folders of CTC were set up on the computer which is corresponding to the 11 dominantcolors in CTC with a range of 164 colors, such as brown, red, orange, yellow, green, cyan, blue,
purple, golden, white, and black. Each participant needs to put 50 images into the folder under
the feeling. Finally, all the experimental results are integrated as the corresponding images of
the corresponding 11 dominant color data. One sample case is shown in Figure 7-3.

Fig. 7-3 Sample Caseb. Semantic relationship between CTC and CTP
Tang Poetry reflects Chinese traditional culture and is deeply loved by Chinese people. To
obtain the semantic relationship between CTCH and CTP, a questionnaire had been made which
included 20 CTP and the 11 major HUE within Chinese traditional color standard.
In this part of the experiment, the categories are represented by integers from 1 to 11 forthe major 11 hues which are based on Chinese traditional color range, please refer to Appendix
Ⅰ, with the selection from 1 to 11 being brown, red, orange, yellow, green, Cyan, blue, purple,
Golden, white, and black. Due to the Chinese traditional color standard that has been quantified
in the previous work, the range and specific color can be divided by 10 kinds of hue in this part.
In this section, a total of 20 CTP and their corresponding translations are displayed in each item.
An experimental webpage sample with four CTP and the option with 11 dominant colors areshown in Figure 7-4.

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The link to the experiment web page is as follows: https://www.wenjuan.com/s/ueaQVjB/

Fig. 7-4 CTC and CTP Experimental webpage

7.3.2 The System
a. System logic and equipment
This work is mainly based on the dataset established by two semantic relations. The
participants enter the system and use the palette of Chinese traditional 164 colors to match withthe 5 parts of the element in the environment, and the background data of the system is classified
according to construction data built by two semantic relations, to realize the conversion of thebackstage data and the reverse output in the system. The user only needs to select the preferredcolors to the elements, the system will display the corresponding color matching, and then theuser needs to make a customizable color matching of the space according to the 164-colors of
the Chinese traditional color standard, and finally, the system will match the database according
to the user's results. output the original image and Tang poetry. To realize the process of visual
cognition and knowledge transformation.
b. VR equipment and controller
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The computer which parameter is CPU I7-9700K, 3.6 GHz, Memory type DDR4 16G
3200MHz, GPU NVIDIA 2080. The VR equipment is HTC VIVE pro, the brain wave testing
equipment is LOOXID, as shown in Figure 7-5.

Fig.7-5 The VIVE pro and LOOXID

Control equipment and functional logic. Participants can use the VIVE hand controller toachieve three functions, the hand controller is shown in Figure 7-6. 1. Selection function whichis through the point to object target by ray, can be confirmed by the button of the VIVE lefthand controller. 2. Movement function in space. This part of the function is realized throughthe touchpad of the controller. 3. Hide and display the 164 color palette through two side buttons
which are via once press to hide and double press to display.

Fig.7-6 The Controller

7.4 Interaction Experiment7.4.1 The Model108

In the construction of an interactive environment, two models with traditional texture, andthe model with modern abstractionism are constructed by software 3DMAX. Each model isdivided into five sub-models and groups. The motivation of those contents aims to offer
participants feeling interesting by viewpoint changes through the spatial perspective in theprocess of interaction, models are shown in Figure7-7. Afterwhile, four scenarios are built basedon the UNITY platform to construct the interactive processing.

Fig.7-7 the models
1097.4.2 Participations
In the prototype system experiment, a total of 12 people were invited to this study. There
are 6 males and 4 females. The participants are all college students with an average age of 24.
Before the experiment, the participants haven`t the problem with vertigo and color blindness inthe three-dimensional scene.
Due to brainwaves are affected by sound factors (Y. P. Lin et al., 2010), to ensure thatparticipants are not affected by external factors as much as possible, the experimental
environment is chosen to set up testing equipment in a quiet space with sound insulation effect,
and is chosen to start at 8 p.m. Experimental environment with a participation case is shown in
Figure 7-8. Before the experiment, participants were briefed about the experiment process. The
participants were requested to take the whole experiment in 1 minute for each scene. After theexperiment, participants were asked to answer some questions about the experiment experience.

Fig. 7-8 Experimental Environment with A Participation Case110

7.4.3 Interactive scenes and procedure
The interactive system consists of three scenes, as shown in Figure 7-9. The modelcomponents of scene 1 to scene 4 are from simple to gradually complex, and the models ofscene 1 and scene 2 choose the pattern with Chinese traditional style as the model. Scene 3
chooses a modern model style and scene 4 is the interior space. Based on the system logic, eachscene can be divided into two stages from the point of view of function, the first is the color
matching stage, and the second is the observation output results stage.

Fig. 7-9 the scenes
The first stage is the color matching period. It is mainly composed of four parts: First, thecolor palette area, and component button of the scene, the color palette is composed of 164
colors of Chinese traditional colors which are obtained from chapter 4, the color palette isshown in Figure 7-10 (A). The user can use those colors to change components in the scene
until satisfaction with their preference. Whereafter, the participants can press the confirm button
to the second stage, if the user thinks the color matching of the scene is finished. Second, thefunctional button that is shown in Figure 7-10 (B), contains three functions. Reset button which
can reset the colors of all components in the scene. Restart button which can begin from thefirst scene. Confirm button which contains two pieces of logic to save the current user color.
When the participants think the current color matching is satisfied, will enter the second stage.
This part is the result output interface, the system will match the system data according to the111color matching selected by the participants. Finally, the system will output two items which are
the original images and CTP, which are according to the matching result of the color schemeby participation. Two pictures with and two CTPs will be shown, the case with the sample isshown in Figure 7-11 (A).

Fig.7-10 Function of Each Part in Scene
Additionally, the system can acquire the participation brain wave data which only can bedisplayed on the computer screen for the observer, the attention weight is the key data forevaluation. Therefore, based on the official API code within the UNITY platform provided by
the LOOXID official website, the numerical changes of attention weight data of participants
can be observed directly through visual data in the experiment, the part of the brain wave userinterface is shown in Figure 7-11 (B).

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Fig. 7-11 Case with The Sample and Brain wave UI

7.5 Evaluation
7.5.1 EEG Evaluation
The electroencephalogram (EEG) is an important window for scientific insight into theinternal functional activity of the brain (Xing et al., 2019). The measurement of EEG in thescalp of the subjects is a non-invasive method, which can be widely used in scientific researchand clinical practice. EEG has become a popular and convenient technique, which plays a wide
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role in the research of aesthetics (Guo et al., 2019), music emotional feedback (Y. P. Lin et al.,2010), clinical and spiritual research, etc. (Joshi & Ghongade, 2020). According to the form of
feedback, spirit feedback can be divided into visual feedback, auditory feedback, and tactile
feedback. Among those, visual feedback is the most widely used, because vision plays adominant role in the senses of receiving information.
To further verify the interactive procedure effectively, the LOOXID brainwave device isused in the work, which can be used as an effective brainwave extraction tool (Choi & Lee,2020). It can acquire the visual brainwave data of the participants and measure the brain wave
value and visual thinking index in real-time (Kameda et al., 2021).

The data of brainwave

record point of each participant were obtained by every 3 seconds as a timecode, the wholeexperiment processing of participation takes 1 minute for each scene. The samples with thebrain wave of the participation interface are shown in Figure7-12.

Fig. 7-12 Samples with The Brain Wave User Interface
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Due to the difference in each participant's interactive behavior during the experiment, thedata of the experimental process is divided into two parts: 3 seconds to 36 seconds is divided
into color matching interaction stage. 39 seconds to 60 seconds is the observation system output
stage. The horizontal axis is the timeline, the vertical line is the user ID sequence. Attention
weight data of three scenes are shown from Chart 7-1 to Chart 7-4 separately.

Chart.7-1 Scene One Attention Rate Data

Chart.7-2 Scene Two Attention Rate Data

Chart.7-3 Scene Three Attention Rate Data

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Chart.7-4 Scene Four Attention Rate Data
In the brainwave change curve, the longitudinal axis is the number of the participants'
attention, and the concentration weight is from 0 to 100. 40 is the lower concentration baseline,
and when the concentration is higher than 60, that means the attention rate is higher (Xiao Liu,
2020). In general, the concentration of the effective brainwave curve, that the smaller thefluctuation of the amplitude, the less the cognitive effort of the participants and the lower thelevel of attention caused by stimulation. When the fluctuation is large, the participants invest
more cognitive attention and the level of doctrine caused by stimulation is higher.
Scenario one compares the result is shown in Chart 7-5. A1 represents the mean of thecolor matching phase, and A2 represents the mean of the observed output phase. The means
and standard deviations of A1 and A2 are 50.346 ± 3.474, and 60.036 ± 12.573. Cohen's d value
is 0.42, indicating that there is a difference in attention weight between the two stages, but thedifference is small. comparisons between A1 and A2 are shown in Chart 7-5. From the chart, italso can be seen that group A1 and group A2 are both higher than 40.

Chart. 7-5 Mean Score of Scene One

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Scenario two compares the result. B1 represents the mean of the color matching phase,and B2 represents the mean of the observed output phase. The means and standard deviationsof B1 and B2 are 56.34 ± 7.832, and 61.393 ± 8.064. Cohen's d value is 0.373, indicating that
there is a difference in attention weight between the two stages, but the difference is small.
The comparisons between B1 and B2 are shown in Chart 7-6. From the chart, it also can beseen that group B1 and group B2 are both higher than 40. Group B2 is concentrated at 60,
indicating that experimenters pay more attention to the results.

Chart. 7-6 Mean Score of Scene Two
Scenario three compares the results. C1 represents the mean of the color matching phase,and C2 represents the mean of the observed output phase. The means and standard deviationsof C1 and C2 are 50.346 ± 3.474, and 60.036 ± 12.573. Cohen's d value is 0.768, indicatingthat there is a difference in attention weight between the two stages, The range of difference ismoderate. The comparisons between C1 and C2 are shown in Chart 7-7.

Chart. 7-7 Mean Score of Scene Three117

Scenario four compares the results. D1 represents the mean of the color matching phase,and D2 represents the mean of the observed output phase. The means and standard deviationsof D1 and D2 are 60.372 ± 5.326, and 76.486 ± 10.637. Cohen's d value is 2.162, indicating that
there is a big difference in attention weight between the two stages, The range of difference ismoderate. The mean score comparisons result between D1 and D2 are shown in Chart 7-8.

Chart. 7-8 Mean Score of Scene Four
Based on the results of the four scenarios, it illustrates that the system can attract a highattention rate of participants in the color matching stage, which proves that participants areinterested in the system at this stage. In addition, the attention data in the observation stage isrelatively higher than the color matching stage, which indicates that the observation stage could
induce more attention rates for image and text content.

7.5.2 System Satisfaction Evaluation
The subject of evaluating the rationality of color collocation is human cognition, which
will be affected by objective factors in this cognitive process (Nayatani & Sobagaki, 2002).
Color recognition in images is a process of aesthetic cognitive behavior, which requires acertain process of cognition and transformation (M. S. Lee et al., 2012), (Nemcsics, 2012). In
1957, Psychologist C.E. Osgood created the semantic distinction method which is a method ofexperimental psychology. This evaluation method is widely used in the research and evaluationof perceptual and cognitive-related disciplines. The evaluation section had referred to approachfrom Chen's work question (C. W. J. Chen, 2015). The subjective evaluation includes anevaluation questionnaire with ten questions by 5-point Likert scale (1 = strongly disagree, 2 =118

disagree, 3 = neutral, 4 = agree, 5 = strongly agree). Participants were asked to answer questions
objectively and impartially to improve the shortcomings of this study. Before the beginning of
this session, each participant was asked to browse traditional Chinese works of art and ancient
poetry through observation and reading. The results are shown in Figure 7-13.
The experimental questions are following:

Fig. 7-13 Interaction System Satisfaction Survey
Q1. I think this interaction system is interesting.
Q2. I think the learning system can motivate me to learn aesthetic skills.
Q3. I think this interactive process is convenient to assist learning in color matching.
Q4. I think the learning system can enhance my knowledge and skills for Chinese
traditional color culture.
Q5. I think the knowledge of CTCC and CTCH can be learned from the interaction theprocessing.
Q6. I think the learning system is better than the traditional learning way for culture.
Q7. I think the operation logic setting in the system can enhance my learning.
119Q8. If this kind of system is used in class, will you like it?
Q9. What score would you rate the interactive learning system?
In this part, the questionnaire data are tested by Kendall's W method (Schuca, 1973), andthe results of the Kendall coefficient consistency test show that the significance value of theoverall data is 0.001**, which is significant on the level, that the data are consistent. At thesame time, the Kendall coordination coefficient value of the model is 0.25. Therefore, thedegree of correlation is general consistency, which proves that the system is satisfied with users.

7.6 Discussion and Limitation
Through the brainwave evaluation results, it is proved that this interactive system can
improve the attention of the participants for the aim of learning, in the mass. In addition, thebrainwave results were significantly improved in the display stage of specific content. It isfurther proved by the results of the questionnaire survey. For most participants, the original
design intention of the system can be achieved, but individual users are not satisfied with someproblems, such as participants of the eighth and the ninth, which may be due to dissatisfaction
with the images and text generated by color matching, or this interaction mode does not reach
their ideal state and other problems. To further seek the lack in the system, after thequestionnaire survey, the participants were taken an interview and asked questions, and threemain reasons for the lower 3 score that had been obtained.
The low-score reasons are as follows:First, the content of text shown in the system is in English, which is not easy to understandfor Chinese ancient poetry. If the original Chinese and English versions of the poetry can bedisplayed simultaneously in the results, it will be convenient for most people to understand andlearn. Second, it will be helpful for participants to learn if the results can show thecorresponding historical background of Chinese traditional artwork pictures. Third, theprovision of traditional Chinese-style buildings or objects for color matching will help toimprove the participants` learning process.
On the other hand, this study has two aspects of limitations:
1. Data volume of experimental samples. Two semantic hierarchical relationships
were established in the work respectively, but the data volume needs to be further increased.
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2. The function of automatic CTCH generation is not provided, which may causeinconvenience to users. In future work, it will be added the automatic generation function
as used in chapter 6.

7.7 Conclusion
In this work, the main purpose is to cluster and quantify the semantic relations of
CTCS features. This part built up the feelings and semantic meanings of various colors
scheme are classified according to the sensuous words for the previous basic database. The
system in this chapter is mainly through the interactive progressing to help people learn
and understand how to use CTCS and the background knowledge of CTCC. This chapter
constructs two semantic relations as the data basis of the system and then establishes twolayers of semantic relations, The interactive application system of this research isestablished through these two semantic relations.
Finally, based on the two layers of semantic relations data from sensibility by people,
an auxiliary interactive learning system of Chinese traditional color and culture had been
constructed, which adds interest and interaction to the process of learning andunderstanding. Through the part of the evaluation, it has proved the system effectively forknowledge learning of the CTCC and the CTCH, but it also needs to improve further.
Additionally, it enables participants to acquire knowledge and increase their understandingof it.

121

CHAPTER 8 Conclusion, Implication, Limitation,
and Future Work

8.1 Conclusion & Implication
8.2 Limitation
8.3 Future Work122

8.1 Conclusion and Implication
The power of intangible cultural heritage is noble, it is closely connected with natural
culture, it is deeply combined with national root culture, and it protects the seeds of humanculture. The birth of the list of intangible cultural heritage around the world shows that mankind
has promoted the significance and value of national culture to the human level (Xiang, 2018).
It indicates that mankind has realized that intangible cultural heritage as a living cultural
heritage is the knowledge source of human cultural innovation and the importance of cultural
identity and sense of history.
As an intangible cultural heritage, CTCC still shines brightly after wind and rain. CTCC
has a history of thousands of years which can be date back as early as 1600 before the Common
Era (BC),(T.-R. Lee, 2012). CTCH is an important part of CTCC and the important theoreticalbasis of CTCH. And the Five-Elements-Theory is one of the significant concepts in CTCH
theory. It is a cultural model of Chinese civilization in the aesthetic concept (X. Zhang et al.,2012). Nowadays, CTCC and CTCH still have a far-reaching impact on contemporary CTCC
and Asian color culture (Ishai et al., 2007). It has great influence and value in the field of art
throughout China and the world. Traditional color culture is an indispensable part and importantsocial element in the development and change of every social stage. The changes in various
social stages have inherited and developed the traditional color culture of the previous society.
Accordingly, to better integrate CTCC and CTCH. It should be studied with scientizationmanner, theory, and principle.
Answer for the MRQ and Theoretical Implications
MRQ: How to inherit and apply CTCC and CTCH with digital manners?
This dissertation through interdisciplinary approaches achieved the aim which
had been proposed this dissertation had proposed a systematic methodology namely
CID. Through the CID method, four aspects of CTCH inheritance issues had beensolved partially. Compared with the existing research, the method proposed in thisdissertation is the breakthrough with the Chinese traditional aesthetic theory andpractical application in a new approach with digital manners. And the main reason isthat the research has not limited to a single field and discipline restrictions.
123

The theoretical implication, firstly it had illustrated and explained how thisdissertation is constructed from conception to establishment step by step detailly andprovided an overall thinking process for the research. Secondly, it introduced how themethods had been structured from top to bottom through the mixing approach andliterature analysis software. Thirdly it had demonstrated the data collection
approaches with the each of links in the dissertation. As consequently, thismethodology offered the case for related research which could be a reproduction of
the work.
Answer for the SRQ with Practical Implications
The works had been the realization of interdisciplinary research, the specificconclusion and implication are as follows:
SRQ 1: How to establish the Digital Features of CTCH?
The number of Chinese traditional artworks is huge, and the artistic styles ofdifferent periods are different, it is very difficult to summarize and classify. The
research motivation of this chapter is to transform the aesthetic experience of color
experts and artists as a method to extract Chinese traditional artworks in batches.
In chapter 4, Extraction Approach of Chinese Traditional Scheme Colors basedon Chinese Traditional Artwork. In this part, three tasks had been completed for theaim: 1. Collect and sort out verifiable images of CTAW for classification, and sample
data extraction with the Chinese national color standard. 2. The fundamental dataset
has been built for training Mask R-CNN. 3. The color extraction website tool that
focuses on CTCS had been established.
The practical implication, this method can offer the classify and quantify
approach for digitization CTCS.
SRQ 2: How to make CTCC and CTCH cater to the aesthetic of contemporary humans?
There have differences in aesthetic concepts, ideas, and aesthetic attitudes
between the East and the West.

Regarding the CTCH, how to optimize in an

objective way to cater to the development of the time. It is essential to satisfy thedemands of the aesthetic by modern people.

124

In chapter 5, the contemporary Chinese traditional color harmony inheritancemethod had been proposed. This method can generate CTCS and optimize CTCH.
Based on the visual perception experiment, the work had been obtained the visual
perception score of CTAW. Usage the participant's sensation scores data as an input
baseline, and COLOUR LOVERS website data as the general aesthetic scores, togeneral visual perception rule which could suitable for the aesthetics of modern
people.
The practical implication, this part offers the method of transformation fromabstract to concrete for aesthetic knowledge. Additionally, the method offers theapproach of renewing and updating CTCH, it can be referred to for other works ofaesthetic.
SRQ 3: How to utilize CTCC and CTCH with reality and a practical approach that canmake people use it and comprehend it?
Two systems had been proposed for this part which is to simplify the processof interactive operation.
In Chapter 6, An Interaction Website application of Chinese Traditional Color
Harmony: the case of high-speed railway. It presents the usage of CTCH with thespecific project. This part explores the localized design concept of HSR, expands
the application scope of CTCS, and provides an effective method for inheriting
Chinese traditional color culture. Its significance is to facilitate the collection andprocessing of perceptual quantitative data of CTCH, put forward the researchmethod and process of the application of spatial color matching, and provide theresearch method and process of combining theory and practice for CTCH.
In Chapter 7, A Virtual Reality Interaction Auxiliary Learning Application ofChinese Traditional Color Harmony. The system in this chapter is mainly throughthe interactive progressing to help people learn and understand how to use CTCS
and the knowledge of CTCC. This method adds interest and interaction to theprocess of learning and understanding for people. It enables participants to acquire
knowledge and increase their understanding of it.
The practical implication, the method is proposed for learning knowledge of
CTCH, the method can connect the knowledge with the CTCH and the CTCC.
125

Simultaneously, this approach is the combination of the aesthetic with thetechnology.

8.2 Limitation
In general, this dissertation has the following limitations:(1)

The data-level, CTCC, and CTCH are too complex and tedious, if want to sort it wellthat needs to be subdivided into various categories step by step, it still has a long way
need to go. Simultaneously, the first limitation of the dissertation is the data that had
been used for the training model. If to achieve high accuracy, that demand the massive
data sets, the idealism required tens of millions and even more data accumulated, thatis also a common problem in related research at present.

(2)

Aesthetic evolution, As the person who defines aesthetics, with the development of
the times and social changes, the definition of aesthetics has been given various
definitions with different stages. This dissertation had presented the methods ofimprovement and development, but it also needs to be updated according to the social
needs of the periods.

(3)

The participant, in this work all the participants have come from China. This leads
to limitations at the data level.

8.3 Future WorkAs an intangible cultural heritage, CTCC still shines brightly after wind and rain. CTCC
has a history of thousands of years. This work only involves the tip of the iceberg, there is still
a lot of work that needs to be done, which requires various disciplines and fields to work
together for it. I hope that with this work as a point, it will be gradually connected into a line
for the future.
More importantly, the content of this work will continue, and the future work will be basedon two aspects to further study the Chinese traditional color harmony. First, is the data level,that more kinds of Chinese traditional color harmony data will be further improved in the next
work, such as the folk-art works will be sorted out and collected. Second, in terms of application,126the work will consider expanding the research of Chinese ink art and further enrich theapplication research of colorless for color harmony through the aesthetic concept of ink depthchange.
In the end, this dissertation is humble work, it is a simple work, it is a, but it is a meaningful
view and method for the cultural inheritance. It not only regards CTCC and CTCH but is also
suitable for any intangible culture.

127

Appendix Ⅰ 164 Chinese Traditional Colors
The CTC Results of the Color Coordinate, the LAB and the RGB

128

Appendix Ⅰ
The CTC Results of the Color Coordinate, the LAB and the RGB

129

Appendix Ⅰ
The CTC Results of the Color Coordinate, the LAB and the RGB

130

Appendix Ⅱ Brain wave results of cases of chapter 4.
Brain wave results of case one.

131

Appendix Ⅱ
Brain wave results of case two.

132

Appendix Ⅱ
Brain wave results of case three.

133Appendix Ⅱ
Brain wave results of case four.

134Appendix Ⅱ
Brain wave results of case five.

135Appendix Ⅱ
Brain wave results of case six.

136Appendix Ⅲ The Instructions of chapter 6
Please log in to the following website to connect. The interface load time will take about
2 minutes. After loading successfully, you will see the interface as follows. The operation of
the interface is mainly controlled by the mouse, press, and hold the left mouse button, rotate
the interface in three dimensions, and adjust the viewing angle by the middle mouse button.
The Website Link: 114.55.166.12:23225/autocolor/index.html

The specific process of the experiment is as follows: (please follow the process steps) theFirst step, please fill in "1. Fill in the information in the label". In the "user name", you only137

need to fill in pinyin or initials (please do not use Chinese). In Type, choose according towhether you have relevant aesthetic or design professional background. Finally, the submission
will be made, and there will be a prompt on the interface after the submission is successful.
Step 2, please click "2. The "Picture Color" tab requires you to select a photo with yourfavorite color (please select from the range of pictures provided to you) and click the "Pictureload" button to upload the photo. After uploading, the current color swatch will change
according to the color information in the photos you uploaded (the time consumed will dependon your network speed, please wait patiently and then operate after the color swatch changes).
Step 3, please click "3. Generate color card tag", the system will generate a color card
according to your uploaded image, if you are not satisfied with the current color, you can clickthe "color card optimization" button. The system will match the uploaded image color to
generate "the new" Chinese traditional color scheme. If you do not like the color palette, you
can return to "2. Click the generate color card button in the picture color extraction tab" torestore the color swatch.

In the fourth step, you can click the label on the left side of the screen, when the label isselected, the edge of the label will turn red, and then you just need to select different parts of
the railway space, and then match the color through the right color swatch (please use the 5colors in the color swatch). Finally, when you are satisfied, please click the "Save" button(everything can be modified before clicking the Save button).
138

Finally, thank you very much for your assistance.

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Publication List
Paper in Journal
Liangyu Shi, W. Pei, J. Li, Kazunori Miyata, S. Ma, H. Xie. "Chinese Traditional Color
Harmony Inheritance Method for High-speed Railway, " Journal of Robotics,
Networking and Artificial Life, 2405-9021, 2021/12/29.
DOI:https://doi.org/10.2991/jrnal.k.211108.015

Paper in conference
L. Shi, W. Pei, J. Li, K. Miyata and S. Ma, "Inheritance of Chinese Traditional Color Culture
Based on Modern Human Visual Perception," 2021 Nicograph International (NicoInt),
2021, pp. 106-109, doi: 10.1109/NICOINT52941.2021.00027.

Oral presentation at the international conference"Inheritance of Chinese Traditional Color Culture Based on Modern human Visual
Perception", NICOGRAPH International 2021, July 10.

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