概念結合與概念抽象程度對繪畫創造力的影響

Abstract

繪畫是一種創造性活動。本研究的目的在探討概念抽象程度與概念結合對繪畫創造力的影響。研究中分別以文字和相片配對做為抽象或具體的概念結合的促發材料，並操弄在繪畫前是否有概念結合的促發活動。120名大學生被隨機分配到2 (高、低概念抽象程度) × 2 (有、無概念結合) 的四組實驗情境，進行三次繪畫創作的練習。繪畫的創意程度由四位評分者分別評量。量的分析結果，可能因為繪畫的評分不易取得一致性之故，概念結合與抽象程度的主效果與交互作用大多不穩定。質的分析則顯示，在三次繪畫表現上，在具象的圖片組中，有概念結合組的參與者比無概念結合組在各個創意指標上都有較高的得分，顯示概念結合對繪畫創造力有助益。概念抽象程度較高的文字促發情境中，概念結合的效果則要到第三次練習才出現，顯示抽象的概念結合作業需要經過練習後，對繪畫創意的助益才會明顯，且到第三次練習時，抽象的概念已比具象的概念結合更有利於創意的浮現。我們推測，抽象概念較具象概念有助於創意的出現，但繪畫涉及到繪畫技巧和美學影像的訓練，非美術相關領域的人要以視覺形象來表達抽象的想法可能會遭遇困難。

The purpose of this study was to investigate the effects of conceptual combination and abstractness of concept on artistic creativity. One hundred and twenty college students were randomly assigned to the 2 (conceptual combination) × 2 (abstractness of concept) experimental conditions to produce three paintings. Before painting, participants were primed by either two pictures or the verbal descriptions of those two pictures. Participants in the conceptual combination condition viewed these two pictures simultaneously and were asked to generate some new ideas with those two pictures. Instead, participants in the no conceptual combination condition saw these two pictures sequentially. Participants’ paintings were independently rated by four judges. Because it’s difficult to get reliable ratings from four judges, the main effects and interaction of conceptual combination and abstractness of concepts were short of significance. However, qualitative analysis of the patterns of results from participants’ three paintings showed that participants primed by the conceptual combination activity before painting produced consistently more original paintings than participants without conceptual combination priming. However, the effects of conceptual combination were observed only when the conceptual combination task materials were pictures. When conceptual combination tasks were verbal descriptions of the picture, the effects of conceptual combination were observed only after two practice trials.