偽裝藝術之格式塔心理學研究－以立體派繪畫為例

A Study on Gestalt Psychology of the Camouflage Art - A Case Study of Cubism

紀俊年(Chun-Nien Chi) ； 邱誌勇(Chih-Yung Chiu)

《致理學報》 40期 (2020/11) Pp. 11-41

摘要

偽裝概念從大自然的生物生存之中發現，漸漸地開始延伸至藝術，再到軍事，藝術家阿伯特．賽耶熱衷於研究自然，並將此概念拓展到軍事，雖然歷經失敗，但軍事偽裝從第一次世界大戰爆發而茁壯，形成另一種藝術，而同時間，立體主義也誕生，畢卡索與布拉克等畫家的作品，與軍事偽裝圖樣是否有所相關聯？本文將透過文獻分析，探討兩者之間的關聯性，透過格式塔心理學分析兩者，提出三點相似之處：（1）都具有圖形與背景法則。（2）完整性法則。（3）相似性法則。

關鍵字

偽裝 ； 立體主義 ； 格式塔心理學

並列摘要

The concept of camouflage is discovered from survival of nature's creatures, and it gradually extends to art and military affairs. The artist, Abbott H. Thayer, who is enthusiastic about studying nature. He tries to bring this concept into military affairs, but eventually He has failed. The military camouflage was grew during the First World War, and then became another art. At the same time, Cubism was born. Are paintings of Picasso and Braque related to the military camouflage patterns? This article is going to analyze the correlation between the military camouflage and Cubism by literature review and Gestalt psychology. Three similarities are proposed: Both includes (1) the principle of figure-ground. (2) the principle of closure. (3) the principle of similarity.

並列關鍵字

camouflage ； cubism ； Gestalt psychology