Human PhysiologyHuman PhysiologyФизиология человека0131-16463034-6150The Russian Academy of Sciences66405510.31857/S0131164624040031BTOBRBArticlesСтатьиResearch ArticleEEG-Characteristics of Aesthetic Perception and Evaluation of Artworks During a Museum Visit: А Neuroaesthetic StudyИзучение ЭЭГ-характеристик эстетического восприятия и оценки произведений живописи в условиях посещения музея. Нейроэстетическое исследованиеShemyakinaN. V.ШемякинаН. В.
Russian Federation
shemyakina_n@mail.ruNagornovaZh. V.НагорноваЖ. В.
Russian Federation
shemyakina_n@mail.ruGrokhotovaА. V.ГрохотоваА. В.
Russian Federation
shemyakina_n@mail.ruGalkinV. A.ГалкинВ. А.
Russian Federation
shemyakina_n@mail.ruVasen’kinaV. A.ВасенькинаВ. А.
Russian Federation
shemyakina_n@mail.ruBiryukovaS. V.БирюковаС. В.
Russian Federation
shemyakina_n@mail.ruPotapovY. G.ПотаповЮ. Г.
Russian Federation
shemyakina_n@mail.ruSechenov Institute of Evolutionary Physiology and Biochemistry of the RASФГБУН Институт эволюционной физиологии и биохимии имени И.М. Сеченова РАНThe State Russian MuseumРусский музейMansard of artistsМансарда Художников31102024504324825022025Copyright ©; 2024, Russian Academy of SciencesCopyright ©; 2024, Российская академия наук2024Russian Academy of SciencesРоссийская академия наукhttps://journals.eco-vector.com/0131-1646/article/view/664055

Twenty-eight people (30–70 years old, 12 men, 16 women, artists and non-artists) participated in a comparative neuroaesthetic study in the conditions of real-life visit to M. Vrubel mono-exhibition (Russian Museum, St. Petersburg). During the visit to the exhibition (usually lasted for around 60 min), EEG of participants was recorded. The subjects were looking at the paintings for 30 seconds to 3 min and evaluated the subjective aesthetic “attractiveness” of the paintings by a series of button presses (from 1 to 10). Were analyzed EEG spectral power in the α1 (8–10 Hz)-, α2 (10–13 Hz)-, β1 (13–18 Hz)-, β2 (13–30 Hz)-frequency bands during viewing the most famous Vrubel paintings (“Bogatyr”, “Swan Princess”, “Swan”, “Sitting Demon”, “Flying Demon”, “Pan”, etc.) and event-related EEG synchronization/desynchronization in relation to the subjective emotional and aesthetic evaluation of these paintings. Professional artists showed lower spectral power values in α1 (leads F3, C3, T4, Pz) and α2 (F3, Fz, F4, C3, Cz, C4, P3, Pz, P4)-frequency bands in frontal, central, and parietal regions. The artists were also found to have lower power values in β1,2-frequency bands in frontal (F3, F4, C3) regions and higher power values in occipital (O1, O2 – β1, β2) and posterior temporal (β2) cortical regions compared to the group of subjects with no special artistic education. Moreover, artists decision-making about the high emotional-aesthetic attractiveness of paintings was accompanied by an increase in event-related EEG synchronization for 11.5–27 Hz in frontal and central cortical areas over 580–360 ms before giving the response, compared to non-artists, whereas low emotional-aesthetic evaluation was characterized by 9–27 Hz EEG desynchronization, which started 60 ms before the giving the response and lasted up to 440 ms after it, in the posterior temporal and parietal regions. The differences in frontal cortical areas may indicate a higher engagement of the reward system during the perception of aesthetically pleasing paintings, and the differences in parietal and posterior temporal areas may indicate a continuing visual synthesis (more sustained visual attention) during the perception of subjectively less attractive paintings in artists compared to non-artists.

В сравнительном нейроэстетическом исследовании в условиях естественного посещения моновыставки М. Врубеля (Русский музей, г. Санкт-Петербург) приняли участие 28 чел. (30–70 лет, 12 мужчин, 16 женщин; 10 художников и 18 нехудожников). Во время посещения экспозиции (~60 мин) у испытуемых регистрировали электроэнцефалограммы (ЭЭГ). Испытуемые от 30 с до 3 мин рассматривали картины и серией нажатий на кнопку-отметчик (от 1 до 10) оценивали субъективную эстетическую "привлекательность" полотен. Были проанализированы: спектральная мощность в α1 (8–10 Гц)-, α2 (10–13 Гц)-, β1 (13–18 Гц)-, β2 (13–30 Гц)-диапазонах частот ЭЭГ при просмотре наиболее известных картин М. Врубеля ("Богатырь", "Царевна-Лебедь", "Лебедь", "Демон сидящий", "Демон летящий", "Пан" и др.); и связанная с событиями синхронизация/десинхронизация ЭЭГ относительно субъективной эмоционально-эстетической оценки полотен художниками и нехудожниками. У художников наблюдались меньшие значения спектральной мощности в α1 (отведения F3, C3, T4, Pz)- и α2 (F3, Fz, F4, C3, Cz, C4, P3, Pz, P4)-диапазонах частот в лобных, центральных и теменных областях. Также у художников были выявлены меньшие значения мощности в β1, 2-диапазонах частот в лобных (F3, F4, C3) и бóльшие — в затылочных (O1, O2 – β1, β2) и задневисочных областях (β2) коры при сравнении с группой испытуемых без специального художественного образования. Принятие решения о высокой эмоционально-эстетической привлекательности полотен у художников по сравнению с нехудожниками сопровождалось увеличением связанной с событием синхронизации ЭЭГ в полосе частот 11.5–27 Гц в лобных и центральных областях коры за 580–360 мс до обозначения ответа, тогда как низкая эмоционально-эстетическая оценка характеризовалась у художников бóльшей десинхронизацией ЭЭГ по сравнению с нехудожниками в полосе частот 9–27 Гц, начинавшейся за 60 мс до начала обозначения ответа и длящейся до 440 мс после него в задневисочных и теменных областях. Различия в лобных зонах коры можно связать с большим вовлечением системы награды при восприятии эстетически приятных полотен, а различия в теменных и задневисочных зонах – с продолжающимся зрительным синтезом (более длительное зрительное внимание) при восприятии субъективно менее привлекательных картин у художников по сравнению с нехудожниками.

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