پیوندهای مفید
اخبار و اعلانات
آمار
| تعداد نشریات | 25 |
| تعداد شماره‌ها | 954 |
| تعداد مقالات | 7,829 |
| تعداد مشاهده مقاله | 13,082,098 |
| تعداد دریافت فایل اصل مقاله | 9,266,226 |
رابطه بین محر‌ک‌های اطلاعاتی و قضاوت زیباییشناختی در میان افراد غیرمتخصص در هنر | ||
| جلوه هنر | ||
| دوره 16، شماره 4 - شماره پیاپی 45، دی 1403، صفحه 63-74 اصل مقاله (3 M) | ||
| نوع مقاله: مقاله پژوهشی | ||
| شناسه دیجیتال (DOI): 10.22051/jjh.2024.44585.2025 | ||
| نویسندگان | ||
| شاهین محمدی زرغان1؛ رضا افهمی* 2؛ حجت الله فراهانی3 | ||
| 1دانشجوی دکتری پژوهش هنر، گروه پژوهش هنر، دانشکده هنر و معماری، دانشگاه تربیت مدرس، تهران، ایران. | ||
| 2دانشیار گروه پژوهش هنر، دانشکده هنر و معماری، دانشگاه تربیت مدرس، تهران، ایران، نویسنده مسئول. | ||
| 3دانشیار گروه روانشناسی، دانشکده علوم انسانی، دانشگاه تربیت مدرس، تهران، ایران. | ||
| چکیده | ||
| متغیرهای روانشناختی در میزان درک و لذت افراد از یک اثر هنری نقش اساسی دارند. لذت از اثر هنری نه‌تنها به خود اثر بلکه به مخاطب آن نیز بستگی دارد. ابعاد شخصیتی و دانش هنری از جمله عواملی هستند که بر لذت، درک و قضاوت زیباییشناختی افراد اثرگذار هستند. تأثیر این عوامل بر افراد مختلف اعم از متخصصین و غیرمتخصصین در هنر سنجیده شده است اما چیزی که در این میان مغفول مانده، تأثیر کوتاه مدت یک محرک اطلاعاتی بر تجربة هنری افراد غیرمتخصص است. در این پژوهش افرادی با تجربه و دانش هنری پایین در دو گروه آزمایشی مورد آزمون قرار گرفتند. گروه اول بدون هیچ محرک اطلاعاتی و گروه دوم با محرک اطلاعاتی (متنی درباره‌ی ماهیت اثر هنری) میزان ترجیح خود را از پنج جفت اثر واقع‌گرا-کلاسیک و مدرن-انتزاعی اظهار کردند. نتایج پژوهش حاکی از این بود که با وجود عدم تفاوت دو گروه در دانش زیباییشناختی، گروه دوم که در معرض محرک اطلاعاتی قرار داشتند، آثار مدرن و انتزاعی را به‌صورت معناداری بیشتر پسندیدند. بنابراین حتی ارائه اطلاعات کوتاه در مورد شیوه‌های درک هنر به طور بافتاری به افراد می‌تواند روی انتخاب و ترجیح آثار هنری تأثیر بگذارد. یافته‌های این پژوهش نقش متغیرهای بافتاری و روانشناختی در تجربة زیباییشناختی افراد غیرمتخصص را تأیید می‌کند. | ||
| کلیدواژه‌ها | ||
| کلید واژهها: زیبایی‌شناسی؛ دانش زیباییشناختی؛ گشودگی به تجربه؛ ترجیح زیباییشناختی؛ روانشناسی هنر | ||
| موضوعات | ||
| هنرهای تجسمی و کاربردی | ||
| عنوان مقاله [English] | ||
| The Relationship Between Information Stimuli and Aesthetic Judgement in non Experts | ||
| نویسندگان [English] | ||
| Shahin Mohammadi-Zarghan1؛ Reza Afhami2؛ Hojjatollah Farahani3 | ||
| 1Ph.D. Student of Art Studies, Faculty of Art and Architecture, Tarbiat Modares University, Tehran, Iran. | ||
| 2Associate Professor, Department of Art Studies, Faculty of Art and Architecture, Tarbiat Modares University, Tehran, Iran, Correspondent Author. | ||
| 3Associate Professor , Department of Psychology, Faculty of Humanities, Tarbiat Modares University, Tehran, Iran. | ||
| چکیده [English] | ||
| The introduction discusses art as an important pillar of human culture and civilization that has always attracted the attention of thinkers and researchers. However, despite its enduring presence throughout history, art has not always been easy for the general public to understand and appreciate. Previous studies have shown that various psychological factors like personality traits, education level, prior exposure to artworks, and aesthetic literacy impact how people understand and enjoy art. For instance, individuals who are more open to experiences tend to have a greater interest and inclination appreciating complex and unconventional artworks compared to conservative individuals. Likewise, those with more art-related education, training, and experiences are generally better able to understand and enjoy complex, modern artworks. However, reviews show limited research on how informational cues and contexts surrounding art influence the aesthetic judgments of ordinary people lacking art education and experiences. Hence, a key challenge is introducing such modern artworks to the general public to enable understanding and analysis. This study aims to address how informational stimuli and contexts can influence the perspective, preferences, and aesthetic judgments regarding art among individuals without formal art education or experiences. Rather than focusing on pre-existing knowledge and experiences, it examines the role of providing art information to non-experts in shaping attitudes and perceptions in a short-term interaction. This allows assessing potential attitudinal changes without long-term assumptions. To examine the impact of informational stimuli on aesthetic judgments of individuals without art education, the present online study utilized two questionnaires comprising demographics, a 10-item Personality Inventory, Aesthetic Fluency scale, and a researcher-made questionnaire with 5 pairs of different artworks for preference rating: a traditional Iranian mosque and a modern Iranian mosque; a medieval crucifixion painting and Gauguin’s The Yellow Christ; Persian miniature painting Khosrow and Shirin from Shiraz school and Sadegh Tabrizi’s illustration of Khosrow and Shirin; a Nastaliq calligraphy practice and Hossein Zenderoudi’s calligraphic painting; a landscape painting by John Constable and a landscape by Paul Signac. Participants were randomly assigned to Questionnaire 1 or 2. The system prevented entry to the main questionnaire if participants reported any experience, education, or occupations related to art. The only difference between the two questionnaires was an initial text about the nature of artworks in Questionnaire 2 (with informational stimulus) that participants had to read and answer questions about before selecting artworks: “Artworks arise in different ways across times. They attempt to elevate our awareness and provoke thought. They try to showcase artists' perspectives and ideas about reality and life. Many contain implicit symbolic meanings that require reflection to grasp the artist’s viewpoint. Viewing art is an experience for contemplating oneself and life.” Requiring responses to 5 questions ensured close reading. 320 participants completed Questionnaire 1 (without stimulus) and 306 completed Questionnaire 2 (with stimulus). None had art-related jobs or education. The no-stimulus group comprised 320 participants including 180 females (56.2%) and 140 males (43.8%) with a mean age of 23.37 years (SD = 4.54). Their education levels were 25 high school graduates, 177 undergraduates, and 118 postgraduates. The information stimulus group comprised 304 participants including 192 females (63.1%) and 112 males (36.9%) with a mean age of 35.4 years (SD = 15.5). Their education levels were 33 high school graduates, 142 undergraduates, and 129 postgraduates. The results indicated no significant difference in overall Aesthetic Fluency scores between the no-stimulus group (mean = 51.3, SD = 53.0) and the information stimulus group (mean = 42.3, SD = 67.0; p-value > 0.05, t = 1.086). Hence, the groups were not distinguishable regarding their aesthetic knowledge. Pearson correlation analysis investigated associations between Personality dimensions, Aesthetic Fluency, and preference ratings for modern versus classical artworks. Openness to experience showed direct, significant correlations with overall Aesthetic Fluency (r = 0.22, p-value < 0.01), original Aesthetic Fluency (r = 0.17, p-value < 0.01), Aesthetic Fluency of Iran (r = 0.17, p-value < 0.01), overall art preference ratings (r = 0.28, p-value < 0.01), ratings for realistic/classical artworks (r = 0.22, p-value < 0.01) and abstract/modern artworks (r = 0.19, p-value < 0.01). Aesthetic Fluency also correlated with higher art preference ratings (r = 0.26, p-value < 0.01). However, these variables did not effectively distinguish individual preferences. Openness remained the most prominent factor associated with artistic inclination, while greater Aesthetic Fluency related to higher art preference ratings irrespective of style or genre. Independent samples t-tests examined stimulus effects on preference ratings per the study hypothesis. After checking normality assumptions, a significant difference emerged between the no-stimulus group (mean = 46.3, SD = 37.0) and information stimulus group (mean = 74.3, SD = 33.0; p-value < 0.05, t = 15.10) indicating an increased preference for abstract and modern over classical/realistic artworks in the stimulus group. In other words, in assessing aesthetic reactions among groups with and without informational prompts, the results show that individuals naturally have different interests and inclinations toward various art forms based on their personality traits such as openness to new experiences. However, when some individuals were provided with information and perspectives on how to approach and understand art, these individuals demonstrated better reactions and greater acceptance of unconventional and avant-garde artworks. That is the information presented temporarily changed their preferences and choices. Rudimentary awareness of these facets associated with art criticism and history discourse expanded the conception of what constitutes art to encompass modernism’s radical break from familiar mimetic aesthetics. Without such framing, participants generally showed avoidance toward unfamiliar compositions. Access depended on acquiring schemata recognizing how all art essentially represents creative efforts to convey subjectivity regarding conditions of lived experience, through manifest content and symbolic expression transcending literal appearances. This realization allowed perceiving richness within ostensibly opaque imagery by considering what reactions or contemplations it might intend to stimulate regardless of clear pictorial resemblance. That elementary catalytic learning temporarily redirected preferences away from customary favorites and lowered inhibition toward the abstract. The informational content facilitated detecting meaning in superficially confusing but still evocative formations reflecting artists grappling with escalating modernity complexities. Audiences otherwise automatically discount such works due to their ambiguity and lack of concrete visual affirmation of skill seen in traditional techniques. They construe abstraction as technical ineptitude rather than thematic eloquence communicating via entirely reinvented visual languages detaching from optical verisimilitude. Exposure to the historical background on key avant-garde stylistic innovations and their creative rationales rendered these productions more welcoming. These findings demonstrated mass art appreciation hinges considerably on foreground knowledge granting cognitive access more than solely intuitive sensory reactions. The research can help identify factors influencing the formation and alteration of artistic tastes and preferences, as well as the role of contextual information cues therein. The findings can also inform the design of more effective educational and cultural programs for promoting public appreciation of modern art. | ||
| کلیدواژه‌ها [English] | ||
| Keywords: Aesthetics, Aesthetic Fluency, Openness to experience, Aesthetic Preference, Psychology of Art | ||
| مراجع | ||
|
منابع
برزنجی، نوید. بختیاریان، مریم و شیبانی رضوانی، فیروزه (۱۴۰۱). چیستی ادراک در نسبت با رازآمیزی آثار هنری مدرن بر اساسی اندیشه مرلوپونتی، جلوه هنر، ۱۵(۲)، ۲۰-۷.
خدابخش جلفائی، پریسا. طاهری، فائزه و عبداللهی، احسان (۱۴۰۲). مطالعه شاخص‌های بصری متناسب با ویژگی‌های جسمی- روحی کودکان اوتیسم در خلق محتوای تصویری، جلوه هنر. ( انتشار آنلاین 13 آذر 1402).
References
Arnheim, R. (1992). The Other Gustav Theodor Fechner. In S. Koch & D. E. Leary (Eds.), A Century of Psychology as Science (pp. 856–865). Washington DC: American Psychological Association.
Atari, M., & Yaghoubirad, M. (2016). The Big Five personality Dimensions and Mental Health: The Mediating role of Alexithymia. Asian Journal of Psychiatry, 24, 59-64.
Atari, M., Barbaro, N., Sela, Y., Shackelford, T. K., & Chegeni, R. (2017). The Big Five personality dimensions and mate retention behaviors in Iran. Personality and Individual Differences, 104, 286-290.
Atari, M., Afhami, R., Mohammadi-Zarghan, S. (2020). Exploring Aesthetic Fluency: The roles of personality, nature relatedness, and art activities. Psychology of Aesthetics, Creativity, and the Arts, 14(1), 125-131.
Bahrami-Ehsan, H., Mohammadi-Zarghan, S., & Atari, M. (2015). Aesthetic Judgment Style: Conceptualization and Scale Development. International Journal of Arts, 5, 33–39.
Barzanji, N., Bakhtiarain, M., Sheibani Rezvani, F. (2023). Nature of Perception about Mystery of Modern Art Based on Merleau-Ponty's Thought. Glory of Art (Jelve-y Honar), 15(2). 7-20. (Text in Persian)
Belke, B., Leder, H., Harsanyi, G., & Carbon, C. C. (2010a). When a Picasso is a “Picasso”: The entry point in the identification of visual art. Acta Psychologica, 133,191-202.
Belke, B., Leder, H., Strobach, T., & Carbon, C. C. (2010b). Cognitive fluency: High-level processing dynamics in art appreciation. Psychology of Aesthetics, Creativity, and the Arts, 4, 214–222.
Berlyne, D. E. (1971). Aesthetics and Psychobiology. New York: Appleton-Century-Crofts.
Carpenter, P., & Graham, W. (1971). Art and Ideas: An Approach to Art Appreciation. London, UK: Mills & Boon.
Chamberlain, R. & Wagemans, J. (2015). Visual arts Training is Linked to Flexible Attention to Local and Global Levels of Visual Stimuli. Acta Psychologica, 161, 185-197.
Chamorro-Premuzic, T., Furnham, A., & Reimers, S. (2007). Personality and Art. The Psychologist, 20, 84–87.
Chatterjee, A., Widick, P., Sternschein, R., Smith, W. B., II, & Bromberger, B. (2010). The assessment of art attributes. Empirical Studies of the Arts, 28, 207-222.
Cotter, K. N., Fekete, A., & Silvia, P. J. (2022). Why do People Visit art Museums? Examining Visitor Motivations and Visit Outcomes. Empirical Studies of the Arts, 40(2), 275-295.
Cotter, K. N., Rodriguez-Boerwinkle, R. M., Christensen, A. P., Fekete, A., Smith, J. K., Smith, L. F., ... & Silvia, P. J. (2023). Updating the Aesthetic Fluency Scale: Revised long and short forms for research in the psychology of the arts. Plos one, 18(2), e0281547.
Cupchik, G. C., & Gebotys, R. J. (1990). Interest and Pleasure as Dimensions of Aesthetic Response. Empirical Studies of the Arts, 8(1), 1-14.
Fróis, J. P., & Silva, C. (2014). A Research into Meaning-making Strategies in Encounters with Artworks. Empirical Studies of the Arts, 32(1), 43-73.
Glaser, M., Knoos, M., & Schwan, S. (2023). How Verbal Cues Help to See and Understand Art. Psychology of Aesthetics, Creativity, and the Arts, 17(3), 278.
Gosling, S. D., Rentfrow, P. J., & Swann Jr, W. B. (2003). A Very Brief Measure of the Big-Five personality Domains. Journal of Research in Personality, 37(6), 504-528.
Jacobsen, T. (2010). Beauty and the Brain: Culture, History and Individual Differences in Aesthetic Appreciation. Journal of Anatomy, 216(2), 184-191.
Kawabata, H., & Zeki, S. (2004). Neural Correlates of Beauty. Journal of Neurophysiology, 91(4), 1699-1705.
Khodabakhsh, P., Taheri, F., Abdollahi, E. (2023). The Study of Visual Indicators Based on the Physical-Mental Characteristics of Autistic Children. Glory of Art (Jelve-y Honar), Online Publication from 4th December 2023. (Text in Persian)
Leder, H. (2001). Determinants of preference. When do we like what we know? Empirical Studies of the Arts, 19, 201–211.
Leder, H., Carbon, C. C., & Ripsas, A. L. (2006). Entitling art: Influence of Title Information on Understanding and Appreciation of Paintings. Acta Psychologica, 121(2), 176-198.
Leder, H., Gerger, G., Dressler, S. G., & Schabmann, A. (2012). How Art is Appreciated. Psychology of Aesthetics, Creativity, and the Arts, 6(1), 2.
Leder, H., Gerger, G., Brieber, D., & Schwarz, N. (2014). What Makes an Art Expert? Emotion and Evaluation in art Appreciation. Cognition and Emotion, 28, 1137-1147.
Locher, P. J. (2003). An Empirical Investigation of the Visual Rightness Theory of Picture Perception. Acta Psychologica, 114, 147–164
Millis, K. (2001). Making Meaning brings Pleasure: The influence of Titles on Aesthetic Experiences. Emotion, 1, 320–329.
Mohammadi-Zarghan, S., & Afhami, R. (2019). Memento Mori: the Influence of Personality and Individual Differences on Aesthetic Appreciation of Death-related Artworks by Damien Hirst. Mortality, 24(4), 467-485.
Mullenix, J. W. & Robinet, J. (2018). Art Expertise and the Processing of Titled Abstract Art. Perception, 47(4), 359-378.
Myszkowski, N., & Zenasni, F. (2016). Individual Differences in Aesthetic Ability: The Case for an Aesthetic Quotient. Frontiers in Psychology, 7, Article 750.
Nadal, M., & Ureña, E. (2021). One Hundred Years of Empirical Aesthetics. The Oxford handbook of Empirical Aesthetics, 39.
Ö z, R., Özpolat, A. R., & Taskesen, O. (2015). A Study on Individuals’ Art Preferences according to their Personality traits via Computer-aided Website. American Journal of Educational Research, 3(8), 1052-1056.
Pelowski, M. (2015). Tears and transformation: Feeling like Crying as an Indicator of Insightful or “Aesthetic” Experience with art. Frontiers in Psychology, 6, 1006. .
Rawlings, D. (2003). Personality Correlates of Liking for ‘unpleasant ’paintings and photographs. Personality and Individual Differences, 34(3), 395-410.
Silvia, P. J. (2005a). What is interesting? Exploring the Appraisal Structure of Interest. Emotion, 5, 69–102.
Silvia, P. J. (2005b). Cognitive Appraisals and Interest in Visual Art: Exploring an Appraisal Theory of Aesthetic Emotions. Empirical Studies of the Arts, 23, 119–133.
Silvia, P. J. (2005c). Emotional Responses to Art: From Collation and Arousal to Cognition and Emotion. Review of General Psychology, 9, 342–357.
Silvia, P. J. (2006). Artistic Training and Interest in Visual Art: Applying the Appraisal Model of Aesthetic Emotions. Empirical Studies of the Arts, 24, 139–161
Silvia, P. J. (2007). Knowledge-based Assessment of Expertise in the Arts: Exploring Aesthetic Fluency. Psychology of Aesthetics, Creativity, and the Arts, 1, 247-249.
Silvia, P. J., & Brown, E. M. (2007). Anger, Ddisgust, and the Negative Aesthetic Emotions: Expanding an Appraisal Model of Aesthetic Experience. Psychology of Aesthetics, Creativity, and the Arts, 1(2), 100-114.
Smith, L. F., & Smith, J. K. (2006). The nature and growth of aesthetic fluency. In P. Locher, C. Martindale, & L. Dorfman (Eds.), New direc-tions in aesthetics, creativity, and the arts (pp. 47–58). Amityville, NY:Baywood.
Specker, E., Forster, M., Brinkmann, H., Boddy, J., Pelowski, M., Rosenberg, R., & Leder, H. (2020). The Vienna Art Interest and Art Knowledge Questionnaire (VAIAK): A Unified and Validated Measure of Art Interest and Art Knowledge. Psychology of Aesthetics, Creativity, and the Arts, 14(2), 172-185.
Swami, V., Grant, N., Furnham, A., & McManus, I. C. (2008). Perfectly Formed? The Effect of Manipulating the Waist-to-hip Ratios of Famous Paintings and Sculptures. Imagination, Cognition, and Personality, 27, 47–62.
Swami, V., Stieger, S., Pietschnig, J., & Voracek, M. (2010). The Disinterested play of Thought: Individual Differences and Preference for Surrealist Motion Pictures. Personality and individual differences, 48(7), 855-859.
Tschacher, W., Bergomi, C., & Tröndle, M. (2015). The Art Affinity Index (AAI): An Instrument to Assess art relation and art knowledge. Empirical Studies of the Arts, 33, 161–174.
Wanzer, D. L., Finley, K. P., Zarian, S., & Cortez, N. (2020). Experiencing flow while Viewing Art: Development of the Aesthetic Experience Questionnaire. Psychology of Aesthetics, Creativity, and the Arts, 14(1), 113-124.
Winston, A. S., & Cupchik, G. C. (1992). The Evaluation of High Art and Popular Art by Naive and Experienced Viewers. Visual Arts Research, 1-14.
Zhang, L., Atari, M., Schwarz, N., Newman, E. J., & Afhami, R. (2022). Conceptual Metaphors, Processing Fluency, and Aesthetic Preference. Journal of Experimental Social Psychology, 98, 104247.
| ||
|
آمار تعداد مشاهده مقاله: 220 تعداد دریافت فایل اصل مقاله: 5 |
||