Cookies Policy
X

This site uses cookies. By continuing to browse the site you are agreeing to our use of cookies.

I accept this policy

Find out more here

Perceptual Aspects of Visual Stylization

No metrics data to plot.
The attempt to load metrics for this article has failed.
The attempt to plot a graph for these metrics has failed.
The full text of this article is not currently available.

Brill’s MyBook program is exclusively available on BrillOnline Books and Journals. Students and scholars affiliated with an institution that has purchased a Brill E-Book on the BrillOnline platform automatically have access to the MyBook option for the title(s) acquired by the Library. Brill MyBook is a print-on-demand paperback copy which is sold at a favorably uniform low price.

Access this article

+ Tax (if applicable)
Add to Favorites
You must be logged in to use this functionality

image of Art & Perception

Visual style is instantly recognized as that which sets the qualitative tone of what we look at. For all its intuitive immediacy, verbal articulation of the fundamental visual characteristics of style can be elusive. This paper conceptually analyses the perceptual dimensions of style, suggesting at least eight general properties applicable to visual stylization. These characteristics not only embody the essential dimensions of perceptual experience of a given style, but can also be thought of as a generative grammar of stylistic expression. Together they can be utilized as an early attempt to more clearly conceptualize experimental inquiries regarding the effect of visual stylization in perceptual experience.

Affiliations: 1: Gardener of the Reki-An Pavilion, Kamigamo Minami Ojicho, Kyoto 603-8074, Japan

10.1163/22134913-00002039
/content/journals/10.1163/22134913-00002039
dcterms_title,pub_keyword,dcterms_description,pub_author
10
5
Loading
Loading

Full text loading...

/content/journals/10.1163/22134913-00002039
Loading

Data & Media loading...

1. Albertazzi L. (2006). Immanent Realism. Introduction to Franz Brentano. Springer, Berlin, Germany/New York, NY, USA.
2. Albertazzi L. , Van Tonder G. J. , Vishwanath D. (2010). "Introduction: towards a science of qualities", in: Perception Beyond Inference, Albertazzi L. , van Tonder G. J. , Vishwanath D. (Eds), pp.  126. MIT Press, New York, NY, USA.
3. Alpers S. (1987). "Style is what you make it", in: The Concept of Style, Lang B. (Ed.), pp.  137162. Cornell University Press, Ithaca, NY, USA.
4. Arnheim R. (1981). "Style as a Gestalt problem", J. Aesthet. Art Criticism Vol 39, 281289. http://dx.doi.org/10.2307/430162
5. Cahill J. (2012). Six Persimmons (lecture 12C). Lecture video available at . Lecture notes available at . Retrieved 31 January 2015.
6. DiPaola S. , Riebe C. , Enns J. T. (2010). " Rembrandt’s textural agency: a shared perspective in visual art and science", Leonardo Vol 43, 145151. http://dx.doi.org/10.1162/leon.2010.43.2.145
7. Francis J. E. (2001). "Style and classification", in: Handbook of Rock Art Research, Whitley D. S. (Ed.), pp.  221244. Altamira Press, New York, NY, USA.
8. Fu S. C. Y. (1991). "Painting theory", in: Challenging the Past: the Paintings of Chang Dai-Chien, pp.  3247. Arthur M. Sackler Gallery, Smithsonian Institution, University of Washington Press, Seattle, WA, USA.
9. Gapper J. (2011). The forger’s story. FT Magazine. Available at . Retrieved January 31, 2015.
10. Gombrich E. H. (1979). The Sense of Order: a Study in the Psychology of Decorative Art. Cornell University Press, Ithaca, NY, USA.
11. Graham D. J. , Field D. J. (2007). "Statistical regularities of art images and natural scenes: spectra, sparseness and nonlinearities", Spat. Vis. Vol 21, 149164. http://dx.doi.org/10.1163/156856807782753877
12. Harris M. (1968). The Rise of Anthropological Theory. Thomas Y. Crowell, New York, NY, USA, p. 571.
13. Heizer R. F. , Baumhoff M. A. (1962). Prehistoric Rock Art of Nevada and Eastern California. University of California Press, Berkeley, CA, USA.
14. Hildebrand A. (1893). Das Problem der Form in der Bildenden Kunst. Heitz, Strassburg, Germany. [The Problem of Form in Painting and Sculpture, M. Meyer and R. M. Ogden (transl.) (1945), G. E. Stechert, New York, NY, USA.]
15. Koffka K. (1940). "Problems in the psychology of art", in: ART: a Bryn Mwar Symposium, Bernheimer R. , Carpenter R. , Koffka K. , Nahm M. C. (Eds), pp.  180273. Sentry Press, New York, NY, USA.
16. Layton R. (1991). "Figure, motif and symbol in the hunter–gatherer rock art of Europe and Australia", in: Rock Art and Prehistory: Papers Presented to Symposium G of the AURA Congress, Darwin 1988, Bahn P. , Rosenfeld A. (Eds), pp.  2338. Oxbow Books, Oxford, UK.
17. Lehar S. (2003). "Gestalt isomorphism and the primacy of subjective conscious experience: a Gestalt bubble model", Behav. Brain Sci. Vol 26, 375444.
18. Martindale C. (1990). "Evolution of ancient art: trends in the style of Greek vases and Egyptian painting", Vis. Arts Res. Vol 16, 3147.
19. Massironi M. (2002). The Psychology of Graphic Images: Seeing, Drawing, Communicating. Lawrence Erlbaum Associates, London, UK. pp. 35–43.
20. Okuda R. (1997). Personal communication to the author, at Shunkô-In temple, Kyoto, Japan.
21. Ramachandran V. S. , Hirstein W. (1999). "The science of art: a neurological theory of aesthetic experience", J. Consc. Stud. Vol 6, 1551.
22. Riegl A. (1966). Historische Grammatik der Bildenden Künste, K. M. Swoboda and O. Pächt (Eds). H. Böhlaus Nachf., Graz, Austria. [Historical Grammar of the Visual Arts, J. E. Jung (transl.) (2004), Zone Books, New York, NY, USA.]
23. Schapiro M. (1953). "Style", in: Anthropology Today, Kroeber A. L. (Ed.), pp.  287312. University of Chicago Press, Chicago, IL, USA.
24. Shingen (1466). Senzui Narabi ni Yagyou no Zu (Illustrations for Designing Mountain, Water and Hillside Field Landscapes). Sonkeikaku Library, Sonkeikaku Sōkan Series, Ikutoku Zaidan, Tokyo.
25. Shin-tsu Tai S. , Campbell Kuo S. , Wilson R. L. , Michie T. S. (1998). Carved Paper: the Art of the Japanese Stencil. Santa Barbara Museum of Arts and Weatherhill Inc., New York, NY, USA/Tokyo, Japan.
26. Swaan W. (1988). The Gothic Cathedral. Omega Books, New York, NY, USA.
27. Taylor R. P. , Micolich A. P. , Jonas D. (1999). "Fractal analysis of Pollock’s drip paintings", Nature Vol 399, 422. http://dx.doi.org/10.1038/20833
28. Thompson D. W. (1917). On Growth and Form. Cambridge University Press, Cambridge, UK. See also On Growth and Form: the Complete Revised Edition (1992), Dover Publications, New York. http://dx.doi.org/10.5962/bhl.title.11332
29. Trianti I. (1993). "Four kouroi in one?", in: The Getty Kouros Colloquium: Athens, May 1992, Kokkou A. (Ed.), pp.  2527. J. Paul Getty Museum, Los Angeles, CA, USA.
30. Van Tonder G. J. , Spehar B. (2013). "The aesthetic appeal of visual qualities", in: Handbook of Experimental Phenomenology: Visual Perception of Shape, Space and Appearance, Albertazzi L. (Ed.), pp.  395414. John Wiley & Sons, Ltd, Chichester, UK.
31. Van Tonder G. J. , Vishwanath D. (2014). "Design insights: Gestalt, Bauhaus and Japanese gardens", in: Oxford Handbook of Perceptual Organization, Wagemans J. (Ed.). Oxford University Press, Oxford, UK.
32. Van Tonder G. J. , Lyons M. J. , Ejima Y. (2002). "Visual structure of a Japanese zen garden", Nature Vol 419, 359360. http://dx.doi.org/10.1038/419359a
33. Watanabe S. , Sakamoto J. , Wakita M. (1995). "Pigeon’s discrimination of paintings by Monet and Picasso", J. Exp. Anal. Behav. Vol 63, 165174. http://dx.doi.org/10.1901/jeab.1995.63-165
34. Werner H. (1956). "On physiognomic perception", in: The New Landscape in Art and Science, Kepes G. (Ed.), pp.  280283. Paul Theobald and Co., Chigaco, IL, USA.
35. Werness H. B. (1983). "Han van Meegeren fecit", in: The Forger’s Art: Forgery and the Philosophy of Art, Dutton D. (Ed.), pp.  157. University of California Press, Berkeley, CA, USA.
36. Wickhoff F. , von Härtel W. R. (1895). "Die Wiener Genesis", in: Jahrbuch der kunsthistorischen Sammlungen des Allerhöchsten Kaiserhauses, Vol 15/16. F. Temsky, Vienna, Austria. [Roman Art: some of Its Principles and Their Application to Early Christian Painting, Mrs. S. Arthur Strong (transl.) (1900), Heinemann, London, UK.]
37. Wölfflin H. (1915). Kunstgeschichliche Grundbegriffe: Das Problem der Stilentwicklung in der Neueren Kunst. F. Bruckmann A.-G., München, Germany. [Principles of Art History: the Problem of the Development of Style in Later Art, M. D. Hottinger (transl.) (1932), Henry Holt & Co., New York, NY, USA.]
38. Zanette D. H. (2004). "Zipf’s law and the creation of musical context", Music. Sci. Vol 10, 318.
http://brill.metastore.ingenta.com/content/journals/10.1163/22134913-00002039
Loading

Article metrics loading...

/content/journals/10.1163/22134913-00002039
2015-06-09
2018-04-26

Sign-in

Can't access your account?
  • Tools

  • Add to Favorites
  • Printable version
  • Email this page
  • Subscribe to ToC alert
  • Get permissions
  • Recommend to your library

    You must fill out fields marked with: *

    Librarian details
    Your details
    Why are you recommending this title?
    Select reason:
     
    Art & Perception — Recommend this title to your library
  • Export citations
  • Key

  • Full access
  • Open Access
  • Partial/No accessInformation