زنجفر، شنگرف ،شنجرف، سنجرف، زنجرف، شقره، به شیرازی صعتر به هندی سندور، سریقون یونانی، ورمیلون فرنگان، "ورمیلون برد": در اساطیر جهان پنج آخشیجانی چینی یکی از نماد های جهات اربعه که جنوب را می نماید... چنانکه خامه ز شنگرف برکشد نقاش کنون شود مژه ٔ من به خون دیده خضاب

[1] - زنجفر.  شنگرف . [ ش َ گ َ] (اِ) شنجرف . سنجرف . زنجفر. زنجرف . سرخ و آن سرخی که بدان نویسند. (زمخشری ). زنجفر. (فرهنگ اسدی ). شقر. (بحر الجواهر) (دهار). شقرة. (منتهی الارب ). گیاهی است خاردار و بر زمین چسبیده ، بیخی سطبر و سرخ دارد.(رشیدی ) . معرب آن شنجرف .(جهانگیری ). به تازی زنجرف . (اوبهی ). بمعنی شنجرف وآن چیزی است که از سیماب و گوگرد سازند و نقاشان و مصوران بکار برند و معرب آن شنجرف است و به یونانی سریقون خوانند. (برهان ). معرب و مقلوب آن زنجفر است . (انجمن آرا). بر دو نوع است ، نوعی معدنی و دیگر صناعی که از زیبق و گوگرد زرد سازند و از سموم قاتله است . (یادداشت مؤلف ). رنگی است سرخ که از سرب و ژیوه ٔ سوخته با گوگرد سازند. (یادداشت مؤلف) :
چنانکه خامه ز شنگرف برکشد نقاش
کنون شود مژه ٔ من به خون دیده خضاب .

*- شنگرف زاولی ؛ سرنج را گویند که نقاشان در نقاشیها بکار برند. (آنندراج ). چیزی باشد مانند شنجرف لیکن به آن سرخی نباشد و رنگش نارنجی بود و آن را سرنج نیز گویند و در نقاشیها بکار برند و بهندی سندر خوانند. (فرهنگ جهانگیری ). دوائی است که نام دیگرش اسرنج است . (فرهنگ نظام).

*  زنجفر. [ زَ / زِ / زُ ج َ / ج ِ / ج ُ ] (معرب ، اِ) زنجرف است معرب شنگرف . (منتهی الارب ) (آنندراج ). مأخوذ از فارسی شنگرف . شنجرف . (ناظم الاطباء). از احجار عملی است ، از زیبق و زرنیخ و کبریت سازند. (نزهة القلوب ). به فارسی شنگرف نامند. معدنی او از معدن جیوه و طلا و مس بهم می رسد و بعضی او را کبریت احمر دانسته اند و مصنوع او از زیبق و کبریت است ... و از جمله ٔ سموم قتاله است و رادع اورام حاره و قابض تر از شادنج و قاطع نزف الدم ... (تحفه ٔ حکیم مؤمن )... آنچه مخلوق بود به یونانی مینیون گویند و آن حجرالزیبق است و آنچه مصنوع بود به یونانی قیناباری گویند... (اختیارات بدیعی ). رجوع به قیناباری ۞ ، مینیون ، ترجمه ٔ ابن البیطار ج 1 ص 224، اختیارات بدیعی ، تحفه ٔ حکیم مؤمن ، شنجرف ، شنگرف و نشوءاللغة* ص 94 شود.

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* نشوء اللغه العربیه و نموها و اکتهالها

پدید آورنده: بقلم انستاس ماری الکرملی*

موضوع: زبان عربی - تاریخ

رده: PJ۶۰۷۵،/ک۴ن۵

كتابخانه بنياد دايرة المعارف اسلامي

استان: تهران ـ شهر: تهران

* انستاس ماری الکرملی

محل تحصیل

شهر بغداد ( تا ۱۸۸۲م. ) دروس ابتدایی را در مدرسه الاباء الکرمیلین بغداد گذراند و تحصیلات دبیرستان خود را در مدرسه الاتفاق الکاثولیکی به اتمام رساند و در سال 1882 از این مدرسه فارغ التحصیل شد.  عراق را جهت پیوستن به دانشکده الاباء الیسوعیین ترک کرد و مشغول به تدریس زبان عربی و فراگیری زبان لاتین و یونانی و تکمیل ادبیات زبان فرانسه شد .

مناصب و مشاغل

مدرس

مراکز آموزشی ( از ۱۸۸۶م. )

 در سال 1886 به عنوان مدرس زبان عربی در مدرسه الاباء الکرمیلین بغداد مشغول به کار شد .

حوادث مهم زندگی

مهاجرت به

کشور بلژیک ( از ۱۸۸۷م. )

در سال 1887 به بلژیک مهاجرت نمود و به دیر شفرمون نزدیکی شهر لمیج رفت .

کشور فرانسه ( از ۱۸۸۸م. )

در سال 1888 به فرانسه مهاجرت نمود و طی 6 سال به تحصیل فلسفه و دیر الاباء الکرمیلین در مونپلیه مشغول شد .

تولد        ۱۸۶۶/۰۸م.

 درگذشت  ۱۹۴۷م.

محل تولد  شهر بغداد

ملیت       کشور عراق

پیرو        دین مسیحیت

پدرش لبنانی الاصل و از قبیله بنی مراد بود .

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زنجفر.  بپارسی زنجرف و شنگرف و بشیرازی صعتر گویند و آن مخلوق بود و مصنوع و آنچه مخلوق بود بیونانی مینون خوانند و آن حجر الزبیق بود و آنچه مصنوع بود بیونانی قبسا باری خوانند و آن قنبار بود که از گوگرد و زیبق سازند و آنچه مخلوق بود از گوگرد چیزی بمعدن زیبق رسد و مستحیل شود به زنجفر قوت زنجفر مانند اسفیداج بود و گویند بقوت شادنج بود و طبیعت او معتدل بود در حرارت و رطوبت و در وی قوت محلله بود و گویند گرم بود و خشک در دوم و گوشت در ریشها برویاند و مبرد ورم حار بود و جالینوس گوید سرد است در دویم و خشک ورم جگر و معده را نافع بود چون با روغن گل و گلاب طلا کنند و قولس گوید نافع بود جهت دانها که در سر و لب پیدا شود چون با اسفیداج رصاص بروغن گل بسرشند و بدان طلا کنند و چون در مرهم کنند سوختگی آتش را سود دهد و جراحتها باصلاح آورد و اگر دود کنند بر آکله نافع بود و بر ریشهای عفن و در داروهای چشم استعمال کنند بقوت‌تر از شادنج بود از بهر آنکه قابض‌تر بود از شادنه قطع خون رفتن بکند و وی از سموم قتاله بود چون بیاشامند همان عمل کند که زیبق مصعد کند و مداوای وی به چیزهای چرب کنند و شحمها و آنچه در مداوای زیبق گفته شد و گویند بدل آن مرداسنج است و گویند بقوت شادنج است یا اسفیداج

لاتین ‌SULPHURETUM HYDRARGYRI RUBRUM

فرانسه ‌SULFURE DE MERCURE ROUGE -CINABRE

انگلیسی‌VERMILION

اختیارات بدیعی

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زنجفر.  به پارسی زنجرف و هندوی سندور گویند. سرد است در دوم و خشک است در سیوم. جگر و معده را سودمند است و اگر با روغن گل و گلاب کنند، جهت دانه‌هایی که در سر [پیدا] شوند، به اسفیداج رصاص و به روغن گل سرشته، طلا کنند، نافع آید و در مرهم برای سوختگی مفید بود. [امّا] از سموم قتّاله است. خورنده او را همان عارض شود که از خوردن زیبق [مصعّد حادث گردد]. علاجش آن است که زیبق مصعّد خواهد آمد.

* زیبق‌

: به پارسی سیماب و به شیرازی جیوه و به هندوی پاره گویند.
بهترینش آن بود که غیر مستعمل بود، و علامت غیر مستعمل آن باشد که چون از کرباس بگذرانند، رنگ کرباس سیاه گردد؛ و طبیعتش سرد و تر است در دویم. مقتولش قتل شپش و کنه کند، و با روغن گل و سرکه، جرب و خارش اعضا را نفع دهد؛ و دخانش احداث فالج و رعشه کند و تاریکی چشم و زردی روی و خشکی دماغ آرد و عقل زایل گرداند و ریش‌های کهنه را نفع دهد؛ و موضعی که دخانش باشد، گزندگان همه بگریزند و اگر نگریزند، همه بمیرند؛ و زیبق مصعّد کشنده بود، و چون در گوش کسی ریزند، اختلاط عقل پیدا کند و به صرع و سکته نیز کشد.
علاجش آن باشد که میلی از ارزیز ساخته، در گوش کنند تا سیمابی که باشد، به میل چسبیده و بیرون آید؛ و زیبق آنچه [نه] مصعّد و نه مقتول بود، چون میل کنند، فی الحال از مقعد بیرون آید، و از او مضرّتی نرسد؛ و صنعت تصعید سیماب آن است که یک وزن زیبق و نیم وزن آن سرب یا قلعی ساییده، با هم چندان زاج سوخته و هم چندان خشت پخته و به وزن آن مجموع نمک بریان کرده، همه را بر صلایه سحق کنند و ربّ اترج یا حمّاض بدان ریزند و آهسته آهسته بسایند تا به غایت سوده گردد. پس آن را بریان کنند و در شیشه گل‌اندود یا دیگی نو به گل‌اندوده و شرابه به آتش نرم بریان کنند و آتش نرم آهسته آهسته چنین کنند و تصعید کنند سه نوبت تا سفید گردد. شربتی از او دو درم تا سه درم است؛ و مداوی کسی که سیماب مصعّد خورده باشد، آن است که شبت نیم مشت و انجیر ده عدد در یک پیاله و نیم آب جوشانیده، تا به نیم آید، صاف کنند و سه درم مرّ مکّی در آب آن حلّ کرده، صاف نموده، نیم گرم بیاشامند و مدد کنند که قی شود، و غذا شیر گاوان تازه بخورد.

ریاض الادویه، ص: 107

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شَنْگَرفی رنگ سرخ مایل به نارنجی روشن و مات یا به عبارتی سرخ مخملی شفاف است. این رنگ اصولاً از شنگرف(Cinnabar ،Mercury sulfide) که یک نوع کانی است گرفته می‌شد، هرچند امروزه بیشتر از ترکیب مواد دیگر ساخته می‌شود.

منابعویرایش

فرهنگ معاصر فارسی یک‌جلدی (شابک ‎ISBN 964-5545-73-0)

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به عربی زنجفر:

مسحوق الزُّنجُفر ذو لون أحمر ناصع مائل إلى الصفرة يستخدم ملونا خاصة في صباغة الأقمشة والمنسوجات. وهو خامة تستعمل في صنع الدهانات. وللزنجفر ألوان متعددة تتراوح بين اللون القرمزي إلى الصفرة الفاقعة والأحمر الزاهي. وكان الزنجفر يصنع في الماضي من معدن كبريتيد الزئبق، أما الآن، فقد أصبح يصنع من طحن الزئبق والكبريت معًا، ثم معالجة هذه المادة بمحلول البوتاس الكاوي. ويسخن المسحوق مع تحريكه ليعطي كبريتيدًا أسود. وبتعريض هذا الكبريتيد للبخار لمدة طويلة، يُحصل على الخامة.

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به سندی و پنجابی تماتری:

ٹماٹری رنگ لال رنگ دی اک ونڈ اے۔

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به ترکی استانبولی ورملیون یا چین قیرمیزسی:

Vermilyon ya da Çin kırmızısı, zincifre adlı mineralden üretilen parlak kırmızı renktir. Antik Roma dönemi süslemeleri,Rönesans dönemi resimleri ile Çin'de sıklıkla kullanılmıştır.^[1][2] Kırmızı-turuncu ve turuncu-kırmızı gibi türleri bulunmaktadır.

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Vermilion (Cinnabar)

About these coordinates     Color coordinates

Hex triplet          #E34234

sRGBB  (r, g, b)     (227, 66, 52)

CMYKH   (c, m, y, k)           (0, 84, 71, 0)

HSV       (h, s, v)    (5°, 77%, 89%)

Source   Maerz and Paul[1]

B: Normalized to [0–255] (byte)

H: Normalized to [0–100] (hundred)

Vermilion is a brilliant red or scarlet pigment originally made from the powdered mineral cinnabar, and is also the name of the resulting color.^[2] It was widely used in the art and decoration of Ancient Rome, in theilluminated manuscripts of the Middle Ages, in the paintings of the Renaissance, as sindoor in India, and in the art and lacquerware of China.^[3][4]

Contents

  [show] 

In art and culture[edit]

·        

The bright vermilion murals in the Villa of Mysteries in Pompeii(before 79 AD) were painted with ground and powdered cinnabar, the most expensive red pigment of the time.

·        

The painting of Saint Jerome by Masaccio(1428–29) featured a vivid robe painted with vermilion.^[5]

·        

A page of the Roman de Girart de Roussillon (1450). Both vermilion and minium, or red lead, were used in Medieval manuscripts. Vermilion, as expensive as gilding, was usually reserved for the most important illustrations or designs.

·        

The Venetian painterTitian used vermilion for dramatic effect. In theAssumption of the Virgin(1516–18) the vermilion robes draw the eye to the main characters.

·        

A "Chinese red" lacquerware roundbox from the Qing dynasty (1736-1795), from the National Museum of China in Beijing.

Etymology[edit]

The word vermilion came from the Old French word vermeillon, which was derived from vermeil, from the Latin vermiculus, the diminutive of the Latin wordvermis, or worm. It has the same origin as the English word vermin.^[2] The name originated because it had a similar color to the natural red dye made from an insect, the Kermes vermilio, which was widely used in Europe.^[6] The words for the color in Portuguese (vermelho), Galician (vermello) and Catalan(vermell) have the same origin. The first recorded use of vermilion as a color name in English was in 1289.^[7][8] The term cinnabar was used interchangeably with vermilion until the 17th century, when vermilion became the more common name. By the late 18th century 'cinnabar' applied to the unground natural mineral only.

Chemistry and manufacture[edit]

Vermilion is a dense, opaque pigment with a clear, brilliant hue.^[9] The pigment was originally made by grinding a powder of cinnabar, the ore which contains mercury. The chemical formula of the pigment is HgS (mercury(II) sulfide); like most mercury compounds it is toxic.

Vermilion is not one specific hue; Mercuric sulfides make a range of warm hues – from bright orange-red to a duller bluish-red. Differences in hue are caused by the size of the ground particles of pigment. Larger crystals produce duller and less-orange hue.

Cinnabar pigment was a side-product of the mining of mercury, and mining cinnabar was difficult, expensive and dangerous, because of the toxicity of mercury. The Greek philosopher Theophrastus of Eresus (371-286 BC) described the process in "De Lapidibus", the first scientific book on minerals. Efforts began early to find a better way to make the pigment.

The Chinese were probably the first to make a synthetic vermilion as early as the 4th century BC. The Greek alchemist Zosimus of Panopolis (Third–Fourth century AD) wrote that such a method existed. In the early ninth century the process was accurately described by the Arab or Persian alchemist Jabir ibn Hayyan (722–804) in his book of recipes of colors, and the process began to be widely used in Europe.^[9][10]

The process described by Jabir ibn Hayyan was fairly simple. Mercury and sulfur were mixed together, forming a black compound of sulphide of mercury, called Aethiopes mineralis. This was then heated in a flask. The compound vaporized, and recondensed in the top of the flask. The flask was broken, the vermilion was taken out, and it was ground. When first created the pigment was almost black, but as it was ground the red color appeared. The longer the color was ground, the finer the color became. The Italian Renaissance artist Cennino Cennini wrote: "if you were to grind it every day even for twenty years it would keep getting better and more perfect."^[11]

During the 17th century a new method of making the pigment was introduced, known as the 'Dutch' method. Mercury and melted sulfur were mashed to make black mercury sulfide, then heated in retort, producing vapors condensing as a bright, red mercury sulfide. To remove the sulfur these crystals were treated with a strong alkali, washed and finally ground under water to yield the commercial powder form of pigment.^[12] The pigment is still made today by essentially the same process.

Vermilion has one important defect; it is liable to darken, or develop a purplish-gray surface sheen.^[9] Cennino Cennini wrote, "Bear in mind...that it is not in its character to be exposed to air but it is more resistant on panel than on walls since, when it is used and laid on a wall, over a period of time, standing in the air, it turns black"^[13] The darkness is not a result of the vermilion itself, which is very stable, but is caused by impurities and adulteration of the pigment. Newer research indicates that chlorine ions and light may aid in decomposing vermilion into elemental mercury, which is black in finely dispersed form.^[14][15]

Vermilion was the primary red pigment used by European painters from the Renaissance until the 20th century. However, because of its cost and toxicity, it was almost entirely replaced by a new synthetic pigment, cadmium red, in the 20th century.

Genuine vermilion pigment today comes mostly from China; it is a synthetic mercuric sulfide, labeled on paint tubes as PR-106 (Red Pigment 106). The synthetic pigment is of higher quality than vermilion made from ground cinnabar, which has many impurities. The pigment is very toxic, and should be used with great care.^[16]

·        

Cinnabar crystals from the Almaden Mine in northern California.

·        

Cinnabar crystals ondolomite from Tongren Prefecture, Guizhou, China.

·        

Vermilion has the defect of darkening with time. The bridle of the horse inThe Battle of San Romano by Paolo Uccello in the National Gallery in London has turned from red to dark brown.^[9]

History[edit]

Antiquity[edit]

·        

The first documented use of cinnabar or vermilion pigment was found at the neolithic village of Çatalhöyük in modern-day Turkey. This mural, from 7000–8000 BC, shows aurochs, a deer and humans. (Museum of Anatolian Civilizations, Ankara).

·        

The first documented use of cinnabar, or vermilion, for decorating pottery in China dates to the Yangshao culture(5000–4000 BC). This bowl is from Banpo Village, Shaanxi, China.

·        

The Villa of the mysteries in Pompeiiwas a showcase for the expensive vermilion pigment made from ground cinnabar.

·        

The walls of the tombs of Maya rulers were sometimes painted with cinnabar, and in theTomb of the Red Queenin Palenque (600–700 AD), the remains of a noblewoman were covered with bright vermilion cinnabar powder.

The first documented use of vermilion pigment, made with ground cinnabar, dates to 7000–8000 BC, and was found at the neolithic village of Catalhoyuk, in modern-day Turkey. Cinnabar was mined in Spain beginning in about 5300 BC. In China, the first documented use of Cinnabar as a pigment was by theYangshao culture (5000–4000 BC), where it was used to paint ceramics, to cover the walls and floors of rooms, and for ritual ceremonies.^[17]

The principal source of cinnabar for the ancient Romans was the Almaden mine in northwest Spain, which was worked by prisoners. Since the ore of mercury was highly toxic, a term in the mines was a virtual death sentence. Pliny the Elder described the mines this way:

"Nothing is more carefully guarded. It is forbidden to break up or refine the cinnabar on the spot. They send it to Rome in its natural condition, under seal, to the extent of some ten thousand pounds a year. The sales price is fixed by law to keep it from becoming impossibly expensive, and the price fixed is seventy sesterces a pound."^[18]

In Rome, the precious pigment was used to paint frescoes, decorate statues, and even as a cosmetic. In Roman triumphs, the victors had their faces covered with vermilion power, and the face of Jupiter on the Capitoline Hill was also colored vermilion. Cinnabar was used to paint the walls of some of the most luxurious villas in Pompeii, including the Villa of the Mysteries. Pliny reported that the painters of that villa stole a large portion of the expensive pigment by frequently washing their brushes and saving the wash water.^[19]

In the Byzantine Empire, the use of cinnabar and the vermilion color was reserved for the use of the Imperial family and administrators; official letters and imperial decrees were written in vermilion ink, made with cinnabar.^[19]

In the Americas[edit]

Vermilion was also used by the peoples of Central and South America, to paint ceramics, figurines, murals, and for the decoration of burials. It was used in the Chavin Civilization (400 BC – 200 AD), and in the Maya, Sican, Moche, and Inca Empire. The major source was the Huancavelica mine in the Andesmountains in central Peru.

The most dramatic example of the use of vermilion in the Americas was the so-called Tomb of the Red Queen, located in Temple XIII in the ruins of the Mayan city of Palenque in Chiapas, Mexico, dated to between 600–700 AD, discovered in 1994 by Mexican archeologist Arnoldo Gonzales Cruz. The body and all the objects in the sarcophagus were covered with bright red vermilion powder made from cinnabar.^[20]

In the Middle Ages and Renaissance[edit]

The technique for making a synthetic vermilion by combining sulphur and mercury was in use in Europe in the 9th century, but the pigment was still expensive. Since it was almost as expensive as gold leaf, it was used only in the most important decoration of illuminated manuscripts, while the less expensive minium, made with red lead, was used for the red letters and symbols in the text.

Vermilion was also used by painters in the Renaissance as a very vivid and bright red, though it did have the weakness of sometimes turning dark with time. The Florentine artist Cennino Cennini described it in his famous handbook for artists:

"this pigment is made by alchemy, prepared in a retort, which subject I will leave be since to put every method and recipe into my discussion would be too longwinded. The reason? Because if you care to take the trouble you will find a lot of recipes for it, and particularly if you cultivate friendships with monks. But, so that you do not waste your time with the many different techniques, I advise you, just take what you can find at the apothecary's for your money. And I want to teach you how to buy it and how to recognise the good vermilion. Always buy solid vermilion and not crushed or ground. The reason? Because more often than not you are cheated either with red lead or crushed brick."^[21]

By the 20th century, the cost and toxicity of vermilion led to its gradually being replaced by synthetic pigments, particularly cadmium red, which had a comparable color and opacity.

Chinese Red[edit]

·        

A lacquerware bowl from the Western Han Dynasty, 2nd century BC (Metropolitan Museum of Art, New York)

·        

A lacquerware tray from the Song Dynasty, 960-1279 (Freer and Sackler Galleries, Washington DC)

·        

A lacquerware dish from the Ming Dynasty, late 15th to mid-16th century. (Freer and Sackler Galleries, Washington DC)

·        

The Shaolin Temple in China. Vermilion plays an important role in Chinese culture, and is often used for temples and shrines.

·        

The main gate of theForbidden City in Beiljing, like most Chinese palace walls and gates, is painted vermilion or Chinese red.

·        

Vermilion columns in The throne room in thePalace of Heavenly Purity in the Forbidden City of Beijing.

On the other side of the world, in China, the color vermilion was also playing an important role in the national culture. The color was most famously used in creating Chinese lacquerware, which was exported around the world, giving rise to the term "Chinese red."

The lacquer came from the Chinese lacquer tree, or Toxicodendron vernicifluum, a relative of the sumac tree, which grew in regions of China, Korea and Japan. The sap or resin of the tree, called urushiol, was caustic and toxic (it contained the same chemical compound as poison ivy) but, painted on to wood or metal, it hardened into a fine natural plastic, or lacquer surface. The pure sap was dark brown, but beginning in about the 3rd century BC, during theHan Dynasty, Chinese artisans colored it with powdered cinnabar or with red ochre (ferric oxide), giving it an orange-red color.^[22][23] Beginning in about the 8th century, Chinese chemists began making synthetic vermilion from mercury and sulfur, which reduced the price of the pigment and allowed the production of Chinese lacquerware on a larger scale.

The shade of red of the lacquerware has changed over the centuries. During the Eastern Han Dynasty (25–220 AD) the Chinese word for red referred to a light red. However, during the Tang Dynasty (618–907), when the synthetic vermilion was introduced, that color became darker and richer. The poet Bai Juyi (772–846) wrote that "the flowers in the river when the sun rises are redder than flames," and the word he used for red was the word for vermilion, or Chinese red.^[24]

When Chinese lacquerware and the ground cinnabar used to color it were exported to Europe in the 17th and 18th centuries, European collectors considered it to be finer than the European vermilion. In 1835 "Chinese vermilion" was described as a cinnabar so pure that it only had to be ground into powder to become a perfect vermilion. Historically European vermilion often included adulterants including brick, orpiment, iron oxide, Persian red, iodine scarlet—and minium (red lead), an inexpensive & bright but fugitive lead-oxide pigment.^[25]

In China, From ancient times vermilion was regarded as the color of blood, and thus the color of life. It was used to paint temples, the carriages of the Emperor, and as the printing paste for personal name chops. It was also used for unique red calligraphic ink reserved for Emperors. Chinese Taoists associated vermilion with eternity.

Sindoor[edit]

Sindoor is a vermilion-colored powder with which Indian women make a mark in their hairline to indicate they are married.

In India vermilion or sindoor as it is called is the symbol of fertility, it is therefore applied on the forehead as a dot or on the hair parting of the woman signifying that she is married. A key ritual in Indian marriages is application of vermilion by the groom on his bride, signifying their marital bond, which she applies everyday for the rest of life till her husband's death.

Variations[edit]

Red-orange[edit]

"Red-orange" redirects here. For the variety of orange fruit, see red orange.

Red-Orange
Color coordinates
Hex triplet	#FF5349
sRGBB  (r, g, b)	(255, 83, 73)
CMYKH   (c, m, y, k)	(0, 68, 71, 0)
HSV       (h, s, v)	(3°, 71%, 100[26]%)
Source	Crayola
B: Normalized to [0–255] (byte) H: Normalized to [0–100] (hundred)

At right is displayed the Crayola color red-orange.

Red-orange has been a Crayola color since 1930.

Orange-red[edit]

Orange-Red
Color coordinates
Hex triplet	#FF4500
sRGBB  (r, g, b)	(255, 69, 0)
CMYKH   (c, m, y, k)	(0, 73, 100, 0)
HSV       (h, s, v)	(16°, 100%, 100[27]%)
Source	X11
B: Normalized to [0–255] (byte) H: Normalized to [0–100] (hundred)

Displayed at right is the web color orange-red. It was formulated in 1987 as one of the X11 colors, which became known as the X11 web colors after the invention of the world wide web in 1991.

Medium vermilion[edit]

Vermilion (Plochere)
Color coordinates
Hex triplet	#D9381E
sRGBB  (r, g, b)	(217, 96, 59)
CMYKH   (c, m, y, k)	(0, 56, 73, 15)
HSV       (h, s, v)	(14°, 73%, 85[28]%)
Source	Plochere
B: Normalized to [0–255] (byte) H: Normalized to [0–100] (hundred)

At right is the medium tone of vermilion called "vermilion" on the Plochere color list, a color list formulated in 1948 that is used widely by interior designers.

Chinese red[edit]

Chinese Red
Color coordinates
Hex triplet	#AA381E
sRGBB  (r, g, b)	(170, 56, 30)
CMYKH   (c, m, y, k)	(0, 67, 82, 33)
HSV       (h, s, v)	(11°, 82%, 67[29]%)
Source	ISCC NBS
B: Normalized to [0–255] (byte) H: Normalized to [0–100] (hundred)

"China red" or "Chinese red" is the name used for the vermilion shade used in Chinese lacquerware. One version is shown in the color box at right; the shade could vary from dark to light depending upon how the pigment was made and how the lacquer was applied. Chinese red was originally made from the powdered mineral cinnabar, but beginning in about the 8th century it was made more commonly by a chemical process combining mercury and sulphur. Vermilion has significance in Taoist culture, and is regarded as the color of life and eternity.

The first recorded use of Chinese red as a color name in English was in 1924.^[30]

The source of this color is: ISCC-NBS Dictionary of Color Names (1955)--Color Sample of Chinese red (color sample #36).

In nature[edit]

·        

The vermilion flycatcheris a native of Central and South America.

In human culture[edit]

Hindu culture

·         Hindu women use vermilion along the hair parting line known as Sindoor, to signify that they are married. Hindu men often wear vermilion on their forehead during religious ceremonies and festivals.

Religion

·         The Shaolin temple, where the Buddhist monk Bodhidharma is reputed to have established the new sect of Chan Buddhism (Zen Buddhism), is colored a bright tone of vermilion. This temple was made famous in the West by the 1972–1975 TV series Kung Fu.

·         In the Bible vermilion is listed as a pigment that was in use for painting buildings during the reign of Shallum the son of Josiah king of Judah and is named in the book of the prophet Ezekiel as a pigment used in art that portrayed Chaldean men. (Jeremiah 22:11–14, Ezekiel 23:14-17)

·         The Vermilion rose is a symbol of the Blessed Virgin Mary.

Mythology

·         In Han China's Five Elements cosmology (cf. Chinese mythology), one of the four symbols of the four directions is a bird called Vermilion Bird, which represents the direction of south. The color red (particularly as exemplified by cinnabar/vermilion) was also symbolically associated with summer, fire, a certain note on the musical scale, a certain day of the calendar, and so on.^[31]

Literature

·         Vermilion Sands is a collection of science fiction short stories by J.G. Ballard published in 1971 about an imaginary future resort that pleases its guests by using various kinds of futuristic technology.

History of computing

·         The color orange red has a special significance in hacker culture. The documentation for Digital Equipment Corporation's VMS version 4 came in memorable, distinctively colored orangish-reddish ring binders, and "China red" was Digital's official name for this color. Mark Crispin seems to claim Digital's name for the color was Terracotta, at least in the context of PDP-10 machines running Tops-20.^{[32][relevant? – discuss]}

See also[edit]

·         Red

·         Persian red ("Artificial vermilion")

·         List of colors

·         Kumkum

References[edit]

Notes and citations[edit]

1.       Jump up^ The color displayed in the color box above matches the color called vermilion in the 1930 book by Maerz and Paul A Dictionary of Color New York:1930 McGraw-Hill; the color vermilion is displayed on page 27, Plate 2, Color Sample L11. It is noted on page 193 that the color cinnabar is the another name for the color vermilion.

2.       ^ Jump up to:^a b Shorter Oxford English Dictionary (2002), 5th Edition, Oxford University Press.

3.       Jump up^ Gettens, R. J., Feller, R. L. & Chase, W. T., Artists' Pigments: A Handbook of their History and Characteristics, New York: Oxford University Press, 1993, p. 159

4.       Jump up^ Cox, Robert E. (2009). The elixir of immortality: A modern-day alchemist's discovery of the philosopher's stone. Rochester: Inner Traditions. pp. 22–23. ISBN 978-1-59477-303-7.

5.       Jump up^ David Bamford and Ashok Roy, A Closer Look: Colour (2009), National Gallery Company Limited (ISBN 978 1 85709 442 8)

6.       Jump up^ Eastaugh, p. 211

7.       Jump up^ Maerz and Paul A Dictionary of Color New York:1930 McGraw-Hill Page 206; Color Sample of Vermilion: Page 27 Plate 2 Color Sample L11

8.       Jump up^ Maerz and Paul A Dictionary of Color New York:1930 McGraw-Hill Page 193; Color Sample of Cinnabar (It is noted on page 193 that Cinnabar is the same color as Vermilion): Page 27 Plate 2 Color Sample L11

9.       ^ Jump up to:^a b c d David Bomford and Ashok Roy, A Closer look: Colour. p. 41.

10.    Jump up^ Philip Ball, Bright Earth, Art and the Invention of Colour

11.    Jump up^ Lara Broecke, Cennino Cennini's Il Libro dell'Arte a New English Translation and Commentary with Italian Transcription, Archetype 2015, p. 64.

12.    Jump up^ Gettens, Rutherford J.; Stout, George L. (1966). Painting Materials: A Short Encyclopedia. Courier Dover Publications. p. 171. ISBN 0-486-21597-0.

13.    Jump up^ Lara Broecke, Cennino Cennini's Il Libro dell'Arte: a New English Translation and Commentary with Italian Transcription, Archetype 2015, p. 64.

14.    Jump up^ url = http://www.nature.com/news/paintings-turning-black-blame-mercury-1.13887

15.    Jump up^ Spring, M., Grout, R. (2002). National Gallery Technical Bulletin (PDF) 23: 50–61 http://www.nationalgallery.org.uk/upload/pdf/spring_grout2002.pdf. Retrieved13 January 2014. Missing or empty |title= (help)

16.    Jump up^ http://www.paintmaking.com/red.htm Paintmaking.com section on uses and risks of vermilion pigment

17.    Jump up^ http://archaeology.about.com/od/cterms/qt/Cinnabar.htm Cinnabar - History of Mercury Mineral Use Archeology.about.com, archeology of ancient pigments (retrieved August 2, 2013)

18.    Jump up^ Daniel V. Thompson, The Materials and Techniques of Medieval Painting, p. 103.

19.    ^ Jump up to:^a b Anne Varichon, Couleurs : Pigments et teintures dans les mains des peuples, p. 112

20.    Jump up^ [1] Archeology.about.com, archeology of ancient pigments (retrieved August 2, 2013)

21.    Jump up^ Lara Broecke, Cennino Cennini's Il Libro dell' Arte: a new english Translation and Commentary with Italian Transcription, Archetype 2015, pp. 63-4.

22.    Jump up^ Garner, H., "Technical Studies of Oriental Lacquer"; Studies in Conservation (8), (1963) pp. 84–97.

23.    Jump up^ Ken Johnson, "Cinnabar: Zen once came in a shade of red," New York Times, August 20, 2009.

24.    Jump up^ Yan Chunling, Chinese Red, Foreign Languages Press, Beijing, (2008).

25.    Jump up^ Eastaugh, p. 387

26.    Jump up^ web.forret.com Color Conversion Tool set to hex code of color #FF5349 (Red-Orange):

27.    Jump up^ web.forret.com Color Conversion Tool set to hex code of color #FF4500 (Orange-red):

28.    Jump up^ web.forret.com Color Conversion Tool set to hex code of color #D9603B (Medium Vermilion):

29.    Jump up^ web.forret.com Color Conversion Tool set to hex code of color #AA381E (Chinese Red):

30.    Jump up^ Maerz and Paul A Dictionary of Color New York:1930 McGraw-Hill Page 192; Color Sample of Chinese Red: Page 29 Plate 3 Color Sample J12

31.    Jump up^ http://gj.zdic.net/archive.php?aid-1198.html

32.    Jump up^ Use Net History

Bibliography[edit]

·         Varichon, Anne (2005). Couleurs: Pigments et teintures dans les mains des peuples. Paris. ISBN 978-2-02-084697-4.

·         Yan, Chunling (2008). Chinese Red. Beijing: Foreign Language Press. ISBN 978-7-119-04531-3.

·         Ball, Philip (2001). Bright Earth: Art and Invention of Colour. Hazan (French translation). ISBN 978-2-7541-0503-3.

·         Eastaugh, Nicholas (2004). Pigment Compendium: A Dictionary of Historical Pigments. Butterworth-Heinemann. ISBN 0-7506-5749-9.

·         Martín-Gil, J; Martín-Gil, FJ; Delibes-de-Castro, G; Zapatero-Magdaleno, P; Sarabia-Herrero, FJ (1995). "The first known use of vermillion." Cellular and Molecular Life Sciences, 51(8): 759–761

·         Chase, W.T., Feller, R.L., Gettens, R. J., Vermilion and cinnabar. Studies in Conservation, 17 (2), 45–69