【摘要】 挖掘诗词文本蕴含的城市历史景观色彩信息，为当代城市色彩规划与风貌管控提供历史依据。基于374首描写宋代成都古城景观的诗词，结合ROSTCM6文本挖掘分析与GIS空间分析，在地化梳理宋代成都古城景观色彩空间表征与情感特征。结果表明：（1）宋代成都古城景观色彩以青、赤、白三色系为主，呈“一核三点一带”的景观色彩格局；（2）古城景观中芳香植物、江岸空间、城郊道路两侧、门庭院落空间系统性设计有助于强化积极情感感知；（3）古城景观形成三条高频率情感共现轴线。为传统诗词文本的空间可视化与量化分析提供范例，深化对成都古城色彩美学的认知，为当代城市特色风貌营建提供历史维度的支持。更多还原

【Abstract】 Urban colors are traditional urban cultural symbols deeply rooted in the urban environment and have distinctive expression and outstanding memory value. However, rapid urbanization in China has led to color homogenization, thereby weakening historical spatial continuity. Classical Chinese poetry, as both perception and re-creation of landscapes, preserves valuable information on historical color environments, offering a basis for contemporary urban color planning and heritage protection.A case study of Chengdu, an ancient city during the Song Dynasty, was conducted. A total of 374 poems from the Song Dynasty describing the landscapes in Chengdu were selected. Combining with ROSTCM6 text mining analysis and GIS spatial analysis, this study 1) quantitatively analyzed the composition and spatial distribution characteristics of landscape colors in ancient Chengdu during Song Dynasty; 2) identified emotion characteristics associated with colors and their spatial patterns; and 3) explored a research methodology that analyzes historical urban landscape colors, integrating historical texts and spatial information.The results indicate: 1) color composition and distribution—the landscape colors of ancient Chengdu in the Song Dynasty can be categorized into five systems of red, cyan(green/blue), yellow, white, and black. The cyan system(37%) was predominant, associated with natural landscapes and vegetation. The red system(27%) frequently described commercial buildings. The white system(20%) often depicted meteorological elements. Spatially, colors exhibited a pattern of "one core(Xiyuan), three points(Mohe Pond, Daci Temple and Wanli Bridge) and one belt(Jinjiang RiverHuanhuaxi Stream)." Cyan served as the full-region base color, red dominated the visual perception, yellow indicated seasonal changes, white formed important view corridors, and black held spiritual symbolism. 2) Emotional characteristics and spatial correlations—emotions in the poems were predominantly neutral(0.61), with positive emotions(0.22) exceeding negative ones(0.17). Positive emotions were correlated with elements such as crabapple blossoms, the Jinjiang River, market life, and seasonal fairs. Negative emotions often reflected nostalgia for the past or anxieties of displacement. Emotional spatial analysis revealed three high-frequency co-occurrence axes: Xiyuan-Qingyang Temple-Huanhuaxi, Huanhuaxi-Wanli Bridge, and Xiyuan-Mohe Pond-Wanli Bridge. Spatial autocorrelation showed significant differences in emotion distribution, particularly for positive emotions. 3) Interaction between color and emotion—cyan landscapes evoked positive emotions most easily, followed by red and yellow landscapes. White landscapes were often associated with negative emotions, whereas black landscapes were associated with neutral emotions. Mountain and water landscapes were more likely to trigger positive emotional perceptions. The study reconstructs the landscape’s color appearance and the emotional characteristics of ancient Chengdu during the Song Dynasty. The findings provide a historical basis and spatial guidance for contemporary urban color planning, the preservation of historical urban features, and cultural image-shaping in Chengdu, thus enhancing the historical continuity of the urban landscape. Future studies could extend to longer time sequences to deepen understanding of the stratification patterns of urban colors and the mechanisms that influence emotions in ancient Chengdu.更多还原