This essay ventures to evaluate and critically analysecolour theory with reference to Wright(2011) given that information on the subject of colour may welldiverge from high quality, evidence- based academic information to uncorroborated information and/ or personal opinion veiled as knowledge, building up author’sskillsto critically analyse anddiscuss exemplar texts relevant to colour theory and research.
The theme of colour has developed into a dividing line for thinking about models and about art that is created by systems simply because it is such a devourer of models and systems, and has attracted and in due course confounded methodical innovators in philosophy and psychology with that of writers, painters, composers who endeavor to make use of pre-compositional systems.The multidisciplinary approach to the role of colour in contemporary aesthetics and social sciences is of the essence (Riley, 1995, p.1). Notwithstanding the fact in relation to colour, that it is one of the most understandable and noticeable attributes of the world, there is a huge quantity of diverse theories in relation to colour, theories which appear to be propagating rather than lessening. It is in this context that the question ariseshow is it doable that there might be so much incongruity on the subject of what colours are, and is it probable that these diverse theorists are not talking regarding the similar object. In illusionary theory of colour, Maund(2006) attemptsto take in hand this query, arguing that its response hold upthe conclusion that the finest theory of colour is a type of anti-realism: the Illusory theory of colours. Maunbd(2006) concludes that on the one hand thereareno colours, as they are normally conceived,nonetheless, on the other handthe world is such thatit is as if there are such colours and such a theoretical propositionhas significant implications, and thatit does notfall precisely into the common classification of philosophical theories, but psychological theories
本文旨在探讨和分析关键色彩理论参考莱特（2011），对颜色的主题信息可能偏离质量高，证据为基础的学术信息，未经证实的信息和/或个人意见的知识，建立作者要批判地分析和典范文本颜色理论及研究有关。
色彩的主题已经发展了模型和关于艺术创造系统，仅仅是因为它是这样一个吞食者模型和系统思考为分界线，并吸引了，由于混淆了有条不紊的创新者在哲学和心理学中，作家，画家，谁努力利用预组合系统作曲家。在当代美学和社会科学的多学科的方法是彩色的作用的本质（莱利，1995，第1页）。尽管有关的颜色，这是一个最容易理解的和显着的这个世界的属性，有不同的理论关系的颜色数量巨大，这似乎是传播而不是减少理论。正是在这种情况下，问题的出现表明是可行的，有可能是在是什么颜色的主题很不协调，而且很可能这些不同的理论家是不是对于类似的对象。在色彩的理论，卢比（2006）试图拿在手中的这一查询，认为其响应保持了结论，最好的颜色理论是一种反现实主义色彩的虚幻的理论。maunbd（2006）认为，一方面是没有颜色的，他们通常认为，不过，另一方面，世界就是这样的，好像是有这样的颜色，这样的一个理论命题具有重要意义，这是落地在哲学理论的一般分类，但心理理论