本文選題：審美偏好 + 空間構(gòu)圖��； 參考：《華東師范大學(xué)》2017年博士論文

【摘要】：本研究探討視覺(jué)審美中繪畫(huà)構(gòu)圖審美的心理機(jī)制。當(dāng)前關(guān)于審美的實(shí)驗(yàn)研究中,繪畫(huà)構(gòu)圖審美研究逐漸成為熱點(diǎn),但該領(lǐng)域的心理學(xué)實(shí)驗(yàn)研究忽視畫(huà)框在構(gòu)圖中的作用,缺乏跨文化比較研究;實(shí)驗(yàn)研究方過(guò)于簡(jiǎn)單,生態(tài)效度偏低;受實(shí)驗(yàn)技術(shù)所限,只能對(duì)縱向構(gòu)圖或橫向構(gòu)圖進(jìn)行單維度實(shí)驗(yàn)操縱,對(duì)構(gòu)圖審美心理機(jī)制的揭示存在先天不足。均衡性指的是構(gòu)圖內(nèi)部的相對(duì)關(guān)系,包括單個(gè)構(gòu)圖對(duì)象的構(gòu)圖位置、多個(gè)構(gòu)圖對(duì)象之間的位置關(guān)系、構(gòu)圖對(duì)象間的朝向關(guān)系,以及構(gòu)圖對(duì)象與構(gòu)圖整體及畫(huà)框之間的聯(lián)系等,是繪畫(huà)構(gòu)圖審美價(jià)值的重要體現(xiàn)。本研究采用審美偏好評(píng)價(jià)范式、生成調(diào)整范式(自由構(gòu)圖和限定條件構(gòu)圖)和ERP實(shí)驗(yàn)技術(shù),通過(guò)5個(gè)實(shí)驗(yàn),分別采用抽象圖形和中國(guó)傳統(tǒng)繪畫(huà)中典型的具象圖形,嚴(yán)格量化分析了中國(guó)傳統(tǒng)繪畫(huà)空間構(gòu)圖的均衡性,以及構(gòu)圖審美的腦電活動(dòng)規(guī)律。研究初步得出如下結(jié)論:1.中西方繪畫(huà)的典型畫(huà)框比例存在顯著差異,且畫(huà)框比例上的差異對(duì)空間構(gòu)圖具有顯著影響。其中又以長(zhǎng)縱框差異更為明顯,人們?cè)陂L(zhǎng)縱框構(gòu)圖時(shí)更傾向于沿縱向?qū)ΨQ(chēng)軸,將重心放置在中間偏下的位置。2.空間構(gòu)圖的均衡性是繪畫(huà)構(gòu)圖審美遵循的重要規(guī)律。在單個(gè)抽象物體構(gòu)圖時(shí),被試傾向于將其放置在畫(huà)框中心或縱向、橫向?qū)ΨQ(chēng)軸上;在兩個(gè)或兩個(gè)以上抽象物體構(gòu)圖時(shí),被試傾向于調(diào)整構(gòu)圖對(duì)象之間的相對(duì)位置、距離和象限關(guān)系,并將重心放置在畫(huà)框中央或中央偏下區(qū)域,更偏好對(duì)角象限關(guān)系構(gòu)圖。在兩個(gè)或多個(gè)具象圖形構(gòu)圖時(shí),同樣遵循空間布局的均衡性規(guī)律。3.朝向關(guān)系在具象圖形構(gòu)圖中具有重要作用。兩個(gè)具象圖形構(gòu)圖時(shí),當(dāng)兩個(gè)物體的延長(zhǎng)線(xiàn)產(chǎn)生交叉,從而體現(xiàn)出兩個(gè)物體的運(yùn)動(dòng)角度產(chǎn)生匯聚趨勢(shì)時(shí),人們對(duì)此的審美偏好評(píng)價(jià)也相對(duì)較高。畫(huà)面中的興趣點(diǎn)和背景也存在構(gòu)圖朝向上的均衡關(guān)系。4.審美過(guò)程中晚期的腦電活動(dòng)呈現(xiàn)明顯的左右腦差異,審美認(rèn)知加工活動(dòng)晚期存在主觀偏好判斷的特征波形。5.空間構(gòu)圖審美存在專(zhuān)家—新手差異。專(zhuān)家更注重著眼整個(gè)畫(huà)框進(jìn)行布局,構(gòu)圖結(jié)果具有更高的均衡性;對(duì)于符合審美規(guī)律的圖片,腦電反應(yīng)強(qiáng)度更大,速度更快。
[Abstract]:This study explores the psychological mechanism of painting composition aesthetics in visual aesthetics. In the current experimental research on aesthetics, the aesthetic research of painting composition has gradually become a hot spot, but the psychological experimental research in this field neglects the role of picture frames in composition, and lacks cross-cultural comparative research, and the experimental research is too simple. The ecological validity is on the low side; limited by experimental technology, only longitudinal or horizontal composition can be manipulated by single dimensional experiments, and the revelation of aesthetic psychological mechanism of composition is inherently deficient. Equilibrium refers to the relative relationship within the composition, including the position of a single composition object, the position relationship between multiple composition objects, the orientation relationship between the composition objects, and the relationship between the composition object and the whole composition and the picture frame, etc. It is an important embodiment of aesthetic value of painting composition. In this study, the aesthetic preference evaluation paradigm was used to generate the adjustment paradigm (free composition and restricted conditional composition) and ERP experimental technology. Through five experiments, abstract graphics and typical figurative figures in traditional Chinese painting were adopted, respectively. The equilibrium of space composition of Chinese traditional painting and the law of EEG activity in composition aesthetics are analyzed in strict quantification. The preliminary conclusion of the study is as follows: 1. There are significant differences in the proportion of typical picture frames between Chinese and Western paintings, and the difference in the proportion of picture frames has a significant impact on spatial composition. The difference of the long longitudinal frame is more obvious, people tend to place the center of gravity in the center of the center of gravity along the vertical symmetry axis when the long longitudinal frame is constructed. The balance of space composition is an important rule followed by painting composition aesthetics. In the case of a single abstract object, the subjects tend to place it in the center of the frame or in the vertical, horizontal axis of symmetry; in the case of two or more abstract objects, the subjects tend to adjust the relative position between the composition objects. Distance and quadrant relations, and the center of gravity in the center of the frame or the center of the lower region, prefer diagonal quadrant relationship composition. In the case of two or more figurative graphics, the equilibrium law of spatial layout is also followed. 3. Orientation relation plays an important role in the figurative graphic composition. When the extension lines of the two objects cross and the angle of motion of the two objects converges, the aesthetic preference of the two objects is relatively high. The interest point and the background in the picture also have the equalization relation of the composition orientation. 4. The EEG activity in the middle and late stage of aesthetic process showed obvious difference between left and right brain, and the characteristic waveform of subjective preference judgment existed in the late stage of aesthetic cognitive processing. 5. There are differences between experts and novice in space composition aesthetics. Experts pay more attention to the whole picture frame layout, the composition results have a higher balance; for the image in line with the aesthetic law, EEG response intensity is greater, faster.
【學(xué)位授予單位】：華東師范大學(xué)
【學(xué)位級(jí)別】：博士
【學(xué)位授予年份】：2017
【分類(lèi)號(hào)】：J206.1

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