Aesthetic Preferences for Eastern and Western Traditional Visual Art: Identity Matters.
Western and Chinese artists have different traditions in representing the world in their paintings. While Western artists start since the Renaissance to represent the world with a central perspective and focus on salient objects in a scene, Chinese artists concentrate on context information in their paintings, mainly before the mid-19th century. We investigated whether the different typical representations influence the aesthetic preference for traditional Chinese and Western paintings in the different cultural groups. Traditional Chinese and Western paintings were presented randomly for an aesthetic evaluation to Chinese and Western participants. Both Chinese and Western paintings included two categories: landscapes and people in different scenes. Results showed a significant interaction between the source of the painting and the cultural group. For Chinese and Western paintings, a reversed pattern of aesthetic preference was observed: while Chinese participants gave higher aesthetic scores to traditional Chinese paintings than to Western paintings, Western participants tended to give higher aesthetic scores to traditional Western paintings than to Chinese paintings. We interpret this observation as indicator that personal identity is supported and enriched within cultural belongingness. Another important finding was that landscapes were more preferable than people in a scene across different cultural groups indicating a universal principle of preferences for landscapes. Thus, our results suggest that, on the one hand, the way that artists represent the world in their paintings influences the way that culturally embedded viewers perceive and appreciate paintings, but on the other hand, independent of the cultural background, anthropological universals are disclosed by the preference of landscapes.
School of Psychological and Cognitive Sciences and Beijing Key Laboratory of Behavior and Mental Health, Peking UniversityBeijing, China; Human Science Center, Institute of Medical Psychology, Ludwig-Maximilians-UniversityMunich, Germany; Parmenides Center for Art and SciencePullach, Germany.
Yan
Y
Bao
School of Psychological and Cognitive Sciences and Beijing Key Laboratory of Behavior and Mental Health, Peking UniversityBeijing, China; Human Science Center, Institute of Medical Psychology, Ludwig-Maximilians-UniversityMunich, Germany.
Taoxi
T
Yang
School of Psychological and Cognitive Sciences and Beijing Key Laboratory of Behavior and Mental Health, Peking University Beijing, China.
Xiaoxiong
X
Lin
School of Psychological and Cognitive Sciences and Beijing Key Laboratory of Behavior and Mental Health, Peking University Beijing, China.
Yuan
Y
Fang
School of Psychological and Cognitive Sciences and Beijing Key Laboratory of Behavior and Mental Health, Peking University Beijing, China.
Yi
Y
Wang
School of Psychological and Cognitive Sciences and Beijing Key Laboratory of Behavior and Mental Health, Peking UniversityBeijing, China; Human Science Center, Institute of Medical Psychology, Ludwig-Maximilians-UniversityMunich, Germany; Parmenides Center for Art and SciencePullach, Germany.
Ernst
E
Pöppel
Department of Psychology, University of Minnesota, Minneapolis MN, USA.
Quan
Q
Lei
Chinese painting; Western painting; aesthetics; beauty; culture; visual perception