Redies Christoph, Brachmann Anselm, Wagemans Johan
Experimental Aesthetics Group, Institute of Anatomy I, University of Jena School of Medicine, Jena University Hospital, D-07740 Jena, Germany; Laboratory of Experimental Psychology, Brain & Cognition, University of Leuven (KU Leuven), Tiensestraat 102, B-3000 Leuven, Belgium.
Experimental Aesthetics Group, Institute of Anatomy I, University of Jena School of Medicine, Jena University Hospital, D-07740 Jena, Germany.
Vision Res. 2017 Apr;133:130-144. doi: 10.1016/j.visres.2017.02.004. Epub 2017 Mar 10.
We asked whether "good composition" or "visual rightness" of artworks manifest themselves in a particular arrangement of basic image features, such as oriented luminance edges. Specifically, we analysed the layout of edge orientations in images from a collection of >1600 paintings of Western provenance by comparing pairwise the orientation of each edge in an image with the orientations of all other edges in the same image. From the resulting orientation histograms, we calculated Shannon entropy and parallelism (i.e., the degree to which lines are parallel in the image). For comparison, we analysed the same second-order image properties in photographs of diverse natural patterns and man-made objects and scenes. Results showed that Shannon entropy of relative orientations of edge pairs was high and parallelism was low for the paintings and some of the natural patterns, but differed from other sets of photographs, including other man-made stimuli. The differences were also observed when images were matched for image content. Moreover, high entropy of edge orientations was found in traditional artworks produced by different techniques, in artworks that represented different content matter and art genres, as well as in artworks from other cultural backgrounds (East Asian and Islamic). In conclusion, we found that high entropy of edge orientations characterizes diverse sets of traditional artworks from various cultural backgrounds.
我们探究了艺术作品的“构图良好”或“视觉正确性”是否体现在基本图像特征（如实线亮度边缘）的特定排列中。具体而言，我们通过将一幅图像中每条边缘的方向与同一图像中所有其他边缘的方向进行两两比较，分析了来自1600多幅西方绘画作品集中图像的边缘方向布局。从所得的方向直方图中，我们计算了香农熵和平行度（即图像中线条的平行程度）。为作比较，我们分析了各种自然图案以及人造物体和场景照片中的相同二阶图像属性。结果表明，绘画作品和一些自然图案中边缘对的相对方向的香农熵较高，平行度较低，但与其他照片集（包括其他人造刺激物）不同。当图像在内容上匹配时，也观察到了这些差异。此外，在通过不同技术制作的传统艺术作品、代表不同内容和艺术流派的艺术作品以及来自其他文化背景（东亚和伊斯兰）的艺术作品中，都发现了边缘方向的高熵。总之，我们发现边缘方向的高熵是来自各种文化背景的不同传统艺术作品集的特征。
