模糊度和体积:测试图像中的深度感知,这些图像具有线性,利或模糊的轮
Jeroen F H J Stumpel1,2,3, Robert Volcic4,5,6,7, Maarten W A Wijntjes2,8
1Art History, Utrecht University, Utrecht, the Netherlands.
Journal of vision
|April 16, 2024
概括
艺术中的柔软轮并不一定会增加体积感. 实验表明模糊的轮可以减少感知到的三维性,挑战艺术历史的假设.
科学领域:
- 艺术史 艺术史 艺术史
- 视觉感知 视觉感知 视觉感知
- 心理学 心理学 心理学
背景情况:
- 欧洲绘画看到了一个向柔软或模糊轮的转变.
- 艺术史学家认为,这种技术增强了感知到的体积和深度.
研究的目的:
- 用实验来测试模糊的轮是否增加了体积或深度的感觉.
- 为了调查一个长期存在的艺术史猜想的有效性.
主要方法:
- 通过绘画和抽象形状进行了四次实验.
- 感知到的三维性被测量为利,模糊和线条轮.
- 在最后的实验中,模糊的位置 (亮面与暗面) 被控制.
主要成果:
- 在前三次实验中,模糊和直线轮与利的轮相比,减少了感知到的三维性.
- 对象的点亮侧面的模糊在最后的实验中增强了三维的印象.
- 这些结果强烈挑战了模糊轮本质上增加体积的概念.
结论:
- 艺术史上的猜想是模糊的轮增强了体积或深度,并没有普遍得到经验证据的支持.
- 像莱昂纳多和弗梅尔这样的艺术家使用模糊的轮,可能源于其他原因,而不仅仅是增加所感知的三维性.
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