基于眼动追踪的中国画审美知觉研究

Aesthetic Perception of Chinese Painting Based on Eye Tracking

中文关键词: 中国画  审美  心理  视觉注意  眼动

英文关键词: Chinese painting  aesthetic  psychological  visual attention  eye movement

中文摘要:

      目的 一直以来，审美体验多从直觉分析入手，存在较大主观性，会导致对作品的评价与界定存在争议，一定程度上降低了审美研究的可信度。因此，为审美研究提供实证依据，提高研究的客观性。方法 采用心理学问卷调研方法，获得专业组、学习组、非专业的分组，实证出不同文化背景人对审美认知、审美评价在语义上存在很大差异，但对中国画的审美评价均属于积极审美;获得用来帮助评估绘画的与美学相关的抽象艺术概念，其中内容、意境、颜色影响最强;进一步运用眼动追踪技术，应用Tobii 眼动仪，获得中国画审美视觉认知过程的眼动模式。结果 审美内容上，得出三组人员均更易被具指向性特征的内容吸引;依人脸、服饰、场景、文字的视觉注意先后顺序进行审美;在机制上，边角、情境式构图会产生较大审美眼动;居中、等距构图则产生小幅度眼动;精微写实风格和工笔技法的生物性内容更易成为审美眼动热点。对空白的识别上三组存在差异，专业组对留白的反复眼动轨迹点最多，“计白当黑”意境审美意识明显;对中国画“墨分五色”的审美存在不足，三组均只能识别出4种，且存在较大差异;三组的审美欣赏的眼动轨迹均为横向，专业组比其他组审美注意更集中于高古游丝描、春蚕吐丝描、铁线描等不同技法的线条。结论 站在具有普遍性意义的人类知觉基础上，科学实证三类人群视觉认知层面的眼动规律，借以发现中国画独特审美特质产生的视觉、心理动因;揭示出中国画最根本的“视觉与知觉”本质问题，参透中国画的审美精神。

英文摘要:

      art concepts related to aesthetics were obtained, among which the content, artistic conception and color had the strongest influence. The eye-tracking technology and Tobii eye-tracking instrument were used to obtain the eye-movement pattern of Chinese painting aesthetic visual cognitive process. Theresultsshowed that the three groups were more attracted to the content with directional features in aesthetic content. The aesthetics followed the visual attention sequence of face, clothing, scene and text. In terms of mechanism, the composition of corner and situation would produce large aesthetic eye movement, while the composition of center and equidistant would produce small eye movement. The biological content of the fine realistic style and fine brushwork technique were likely to become the aesthetic eye movement hot spot. There were differences among the three groups in the recognition of blank space. The professional group had the most repeated eye movement trace points of blank space, the aesthetic consciousness of "counting white when black" artistic conception was obvious, and there were deficiencies in the aesthetic appreciation of "five colors of ink" in Chinese painting. All the three groups could identify four types only and there were significant differences. The eye movements of the three groups were transverse, and the aesthetic attention of the professional group was more concentrated on the lines of different techniques, such as gaoku silk drawing, spring silkworm spinning, wire drawing and so on.In conclusion,on the basis of universal human perception, scientific demonstration of eye movement law of three kinds of people's visual cognition level can discover the visual and psychological motivation of Chinese painting's unique aesthetic characteristics. It reveals the essential problem of 'vision and perception" in Chinese painting, and penetrates the aesthetic spirit of Chinese painting.