众所周知，大自然中并不存在颜色，只存在着作用于视觉感知系统的光波。光波经过相应的大脑机制加工，便引起了人的色觉，并以颜色形象体系的形式沉积于人的思维系统之中。颜色概念便是由一系列存在于意识层面的颜色形象构成的综合统一体，其中既包含了颜色本身的特征，还涵盖了以民族认识和信仰、历史文化经验及个人联想为基础的非颜色意义。因此，颜色概念是一个充满个人联想、意义与阐释的系统，这一点在文学文本中体现得尤为明显。人的思维本质使其不断地尝试破解隐藏于颜色信息中的内涵意义。可以说，颜色不仅仅是人类最重要的认知范畴之一，也是与我们生活息息相关的文化概念、文学文本中重要的艺术概念。如今，有关颜色的研究已从早期就客观色谱及其语言对应关系的研究逐步进入到以颜色感知主体为中心的动态阐释阶段。这与语言学中人类中心主义思潮的兴起密切相关。
随着哲学研究的非客观主义或者说后现代主义转向，语言学中人类中心主义趋势开始盛行。在这一背景下，文学文本的研究开始从关注人本因素的认知、交际、语用的路径进行。这是因为三者之间存在着诸多共同之处：承认文本的交际性、关注到作家及读者的思维过程及其积极性。由此，文学文本的阐释过程成为了信息发送者与接收者共同作用的一个过程。而由颜色概念所构成的颜色世界图景在文学交际过程中的形成与传递正是基于作家-文本-读者这一交际语用链来进行。毫无疑问，文学文本中的颜色概念是一项极具个性且复杂的艺术概念，其最鲜明的特征之一便是艺术联想性。一般来说，作家的文化与情感经验越丰富、艺术概念越深厚广博，其创作联想性的潜力越大，这对研究来说也就更具价值与吸引力。我们赞同以一种整合的路径来进行文学文本中颜色世界图景的阐释，即将认知、交际、语用三个视角相结合起来，这必然是未来语言学进程中极具生命力及阐释力的研究路径。波罗特诺娃就曾表示：“综合的路径对文本研究来说更加有效。”库布里科娃同样认为将认知与交际路径相统一起来的整合范畴对语言现象的研究来说未来可期。   
可以说，认知-交际-语用这一综合研究路径为阐释作家的颜色世界图景开辟了新方向，一方面，从文本的产生层面来说，我们可根据文本这一相对稳定的不变量构建作家的颜色概念系统，另一方面，从文本接受层面来说，可动态阐述颜色概念在行文中所承载的功能。就前者而言，文学文本颜色概念系统的构建能够以联想意义场的模式呈现，对后者而言，颜色功能的阐释可通过颜色感知策略来准确定位。可以说，在文学文本交际中，文本的认知、交际、语用分析呈现出必要的互补状态。
颜色概念作为颜色世界图景的构成单位，具有多层级结构。而拥有方法论价值的“场”能够有效地阐释并呈现文学文本概念，即能够直观地呈现概念的构成层级及这些层级内部的意义联系。 具体到文学作品中的颜色概念，在综合考虑到文学文本概念的自身特点及其结构特征的情况下，我们认为联想意义场对体现隐性及潜文本的联想意义来说更具典型性，它既能够体现出文学作品艺术概念的联想性这一特征，还能揭示其结构中意义丰富的联想层。因此，我们有必要通过联想意义场这一路径来构建当代俄罗斯女性文学作品中的颜色概念系统。按照作家所属文化中某一概念的惯用性与临时性程度来划分分析过程中所阐明的意义是一项较为合理的原则。由此，概念的联想意义场分为三个层级：核心层级、文化派生层级及作家个人层级，其中作家个人层级的研究对文学文本来说最具吸引力。三个层级之间相互关联，意义与联想之间相互依赖。基于此，我们构建起当代俄罗斯女性文学的颜色概念联想意义场。               
与此同时，我们尝试借助语码这一概念，从读者角度出发来制定出一套颜色感知策略用以阐释某一具体文学文本中的颜色世界图景，这一策略包含了颜色阐释语码、颜色内涵语码、颜色对立语码及颜色文化语码。
我们认为，将颜色概念联想意义场的构建与颜色感知策略的制定相统一起来并运用于文学作品颜色世界图景的研究是认知、交际、语用路径结合于文学文本分析的一种尝试。

As we all know, there are no colors in nature, only waves of light acting on the visual perception system. Light waves, processed by the corresponding brain mechanism, cause people's color perception, and are deposited in people's thinking system in the form of color image system. The concept of color is a comprehensive unity composed of a series of color images existing at the level of consciousness, which includes not only the characteristics of color itself, but also the non-color meanings based on national knowledge and belief, historical and cultural experience and personal association. Therefore, color concept is a system full of personal association, meaning and interpretation, which is especially evident in literary texts. The nature of man's thinking makes him constantly try to decipher the meaning hidden in the color information. It can be said that color is not only one of the most important cognitive categories of human beings, but also a cultural concept that is closely related to our lives and an important artistic concept in literary texts. At present, the research on color has gradually moved from the early research on objective chromatography and its language correspondence to the dynamic interpretation stage centered on the subject of color perception. This is closely related to the rise of anthropocentrism in linguistics.


With the turn of non-objectivism or post-modernism in philosophical research, anthropocentrism in linguistics began to prevail. Under this background, the study of literary texts begins to focus on the cognitive, communicative and pragmatic approaches of humanistic factors. This is because they share many things in common: a recognition of the communicative nature of the text and a focus on the thought processes and positivity of the writer and the reader. Therefore, the process of interpretation of literary text has become a process of interaction between sender and receiver of information. The formation and transmission of the color world landscape constituted by the color concept in the process of literary communication is based on the writer - text - reader communicative pragmatic chain. There is no doubt that the concept of color in literary texts is a very individual and complex artistic concept, and one of its most distinctive features is artistic association. Generally speaking, the richer a writer's cultural and emotional experience is, and the deeper and broader his artistic concept is, the greater his creative associative potential is, which is more valuable and attractive to the research. We are in favor of an integrated approach to the interpretation of the color world in literary texts, which combines cognitive, communicative and pragmatic perspectives, which is bound to be a research path with great vitality and explanatory power in the future linguistic process. Borotnova once said, "The synthetic path is more effective for textual research." [Б о л о т н о kind guide а Н. С. Х д о ж е с т kind guide е н н ы й т е seem с т kind guide seem о м м н и seem а т и kind guide н о м а с п е seem т е и seem о м п л е seem с н ы й а н а л и з е д и н и ц л е seem с и discusses some related problems е с seem о f о р о kind guide н second. Т о м с seem, 1992:19] library Mr Brikho Eva also think to unify the cognitive and communicative approach in the study of linguistic phenomenon for the future of the integration of category.


, so to speak, cognitive - communication - a comprehensive study of pragmatics path in the interpretation of the writer's color the picture opened up a new direction, on the one hand, from the generation of the text level, we can according to the text of a relatively stable invariant build writer color concept system, on the other hand, from the text to accept level, dynamically on the function of color concepts in text. For the former, the construction of the color concept system in literary text can be presented in the mode of associative meaning field, while for the latter, the interpretation of color function can be accurately located through color perception strategy. It can be said that in literary text communication, text cognition, communication and pragmatic analysis present a necessary complementary state.


The color concept, as a constituent unit of the color world, has a multi-hierarchy structure. The "field" with methodological value can effectively explain and present the concept of literary text, that is, it can intuitively present the constituent levels of concepts and the meaning relations within these levels. Specific to the concept of color in literary works, the comprehensive considering the characteristics of the concept of literary text and its structure characteristics, we believe that the associative meaning field to reflect the hidden and latent text meaning more typicality, it can both embody the associative the characteristics of the concept of literary works of art, also can reveal the structure of lenovo layer with abundant meaning. Therefore, it is necessary to construct the color concept system in contemporary Russian female literature through associating meaning field. It is a reasonable principle to divide the meaning of a certain concept in a writer's culture according to its idiocy and temporality. Therefore, the associative meaning field of concept is divided into three levels: core level, cultural derivation level and writer's personal level, among which the study of writer's personal level is the most attractive to literary texts. The three levels are interrelated, and meaning and association are interdependent. Based on this, we construct the associative meaning field of color concept in contemporary Russian female literature.


At the same time, we try to use the concept of code to develop a set of color perception strategies from the perspective of readers to explain the color world in a specific literary text. This strategy includes color interpretation code, color connotation code, color opposition code and color culture code.


We believe that it is an attempt to combine cognitive, communicative and pragmatic approaches to the analysis of literary texts to unify the construction of associative meaning field of color concepts and the formulation of color perception strategies and apply them to the study of the color world landscape of literary works.