In the 15th century, the miniaturists of the Timurid court in Herat conceive colors that seem to be made of pure light, without weight and volume. Their luminous colors synthesize a unique worldview from the anti‐materialistic teachings of Mani, the Sufi “world of imagination” and the alchemists' principles of transmutation. Five centuries later, our digital technologies seem to offer us such disembodied colors, which used to be the artistic dream of an artisanal culture. Pixels replace pigments, light‐colors replace matter‐colors. With the booming animation and game cultures, Tokyo becomes one of the first places that pixels invade in the 80s. A group of Japanese architects and artists seeks to express in their creations the ethereal dimension of the pixels' electronic light. Through a spatio‐temporal leap, the miniatures, as a historical reference point, reveals the emerging chromatic trends in contemporary architecture and visual culture. Could the invention of pixels be after all, stemming from an ancestral aspiration of mankind based on the sensorial and intelligible duality of his nature?

中文翻译：

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穿越时空的色彩：手工的梦想和数字制造

在15世纪，位于赫拉特（Herat）的帖木儿（Timurid）宫廷的缩影学家构思出的颜色似乎是纯净的光线，没有重量和体积。他们的夜光色彩从玛尼的反物质主义教义，苏菲的“想象世界”和炼金术士的of变原理中综合出了独特的世界观。五个世纪后，我们的数字技术似乎为我们提供了这种无形的色彩，这曾经是手工文化的艺术梦想。像素代替颜料，浅色代替物质色。随着蓬勃发展的动画和游戏文化，东京成为80年代像素入侵的第一批国家之一。一群日本建筑师和艺术家试图在其作品中表达像素电子灯的空灵维度。通过时空的飞跃，缩影，作为历史参考点，揭示了当代建筑和视觉文化中新兴的色彩趋势。像素的发明毕竟是源于人类基于其天性的感官和可理解的对偶性的祖先追求吗？