ABSTRACT
There is no denying that a certain distance exists between the semantic level of the names of colours and poetic concept. Tusi, in his Tansuq name says that colours all emanate from the mixture of white and black in different proportions; white is the origin and black the end result of colours. During the Muslim era, the associations of colours persist, as can be seen in Nezami, for instance. Thus, in the colour of seven pavilions described in his Haft Peykar, the order of the colours follows that of the days of the week and of the planets which rule over these days. The colours of the Immaculate Conception, for their part, only date back to Bernadette Soubirous. One might think that in addition to abstract concepts, colours, particularly in the illustration of poetic texts, could translate metaphors. However, it does not take long to realize that most poetic metaphors are impossible to translate into painting.
