An independent contribution of colour to the aesthetic preference for paintings
An independent contribution of colour to the aesthetic preference for paintings
复制标题
DOI：
10.1016/j.visres.2020.08.005
复制
发表时间：
2020-12-01
期刊：
影响因子：
1.8
通讯作者：
Nascimento, Sergio M. C.
中科院分区：
文献类型：
--
作者：
Albers, Anke Marit;Gegenfurtner, Karl R.;Nascimento, Sergio M. C.
在艺术博物馆里漫步，我们可以看到颜色是如何影响我们的审美偏好的：许多伟大的艺术作品在灰度上不会给人留下深刻的印象。抽象绘画中的色彩之美是与绘画的空间构成相联系的，还是即使在随机的空间安排下也能保持？为了测试颜色是否对审美有独立的贡献，我们要求参与者在同一幅画的颜色操纵版本中选择首选图像。我们通过在CIELAB空间中围绕L* 轴旋转颜色体积来改变色调，但保留亮度和饱和度。为了测试空间结构的影响，绘画的图像被呈现为：（1）原始格式，（2）空间混乱但保留颜色组成，以及（3）在控制条件下，颜色和空间混乱。实验结果表明，对于原始绘画作品，被试普遍偏好与原始绘画作品相匹配的色彩角度。至关重要的是，参与者更喜欢空间混乱的绘画与原始绘画相同的颜色分布。对于对照条件，没有优选的颜色配置。这表明，我们抽象绘画中对色彩的审美偏好并不依赖于特定的空间构成，但即使空间构成被破坏，至少部分地保留了下来。因此，绘画可以包含一个审美成分，这是专门与颜色。
Walking around an art museum we can see how colours influence our aesthetic preferences: many great works of art would not be as impressive in grey scales. Is the beauty of colours in abstract paintings anchored to the spatial composition of the paintings, or can it be preserved even with random spatial arrangements? To test whether colour can have an independent contribution to aesthetic appreciation, we asked participants to select the preferred image among pairs of colour-manipulated versions of the same painting. We changed hue, but preserved lightness and saturation, by rotating the colour volume around the L* axis in CIELAB space. To test the influence of the spatial structure, the images of the paintings were presented: (1) in their original format, (2) spatially scrambled but preserving the colour composition, and (3) in a control condition with both colour and spatial scrambling. Relative preference as a function of hue angle was obtained for the four paintings in their original and modified forms.For the original paintings, we found that participants generally preferred the colour angles that matched the original version of the paintings. Crucially, participants preferred the same colour distributions for spatially scrambled paintings as for the original paintings. For the control condition, there were no preferred colour configurations. This suggests that the aesthetic preference of colours in our abstract paintings is not anchored to particular spatial compositions, but is at least partly preserved even when the spatial composition is destroyed. Paintings thus can contain an aesthetic component that is exclusively related to colour.