本研究主要探討「完形理論」視覺規則應用於攝影圖像的觀看感受，透過眼動追蹤注視經典攝影作品主體感受及訊息反應。主要研究目的為（1）探討紀實攝影於完形理論法則的觀看注視訊息關係；（2）探討紀實攝影圖像主體的凝視分佈區域（3）探討與分析紀實影像表現完形理論的美學形式。 本研究共分三個階段進行，共有60位受測者參與「眼動追蹤」與「自我情緒評估量表」實驗。第一階段為攝影作品視覺規則研究取樣，以歐美、亞洲攝影家作品及本研究拍攝紀實攝影圖像為樣本，採用專家焦點團體進行評分選樣，統計分析結果選樣完形規則「封閉性」、「相似性」二組，且以紀實攝影之「寫實性」依變數為輔；第二階段將選定33張圖樣編碼分為三組，包含「相似性vs封閉性」、「相似性vs寫實性」、「封閉性vs寫實性」，進一步運用眼動追蹤實驗取得熱區圖及注視時間參數，分析受測者觀看圖像視覺注視分布區域。其二，再進行自我情緒評估量表排卡，評量觀看完形規則的圖像視覺主觀感受的愉悅與喚醒程度；第三階段視覺注視度、凝視分佈區域差異性分析，依據眼動反應訊息評估完形規則的視覺表現。 本研究結果顯示紀實影像因應完形理論規則所組成視覺注視有顯著上差異性，其觀看者對完形規則的「封閉性」紀實圖像較聚焦於主體的臉部特徵，同時在愉悅與喚醒程度更為強烈；在「相似性」影像中的主體則將被分散至整體視覺，透過觀看感受對「虛影」、「實體」之間轉換的視覺易受焦點轉換而忽略。經此一探究完形理論的攝影表現形式結果歸納，完形規則的視覺認知具備影像美學、構圖元素模式的建構形式，使其拍攝主題影像更能表達主題的適當性；且藉由本研究拍攝之紀實影像分析探究影像美學關係，重新建構當代紀實攝影實踐於完形理論發展的視覺形式，可作為攝影美學發展脈絡模式之參考。 This study mainly explored the viewing experience of "Gestalt Theory" visual rules applied to photographic images. Observing the subjective feelings and message responses when gazing at classic photographic works through eye tracking. The main purposes of the study were (1) To explore the relationship between the documentary photography and the fixation information with Gestalt principle. (2) To explore the fixation distribution area of the subject of documentary photography images. (3) To explore and analyze the aesthetic form of documentary images in Gestalt theory. The study was carried out in three phases. A total of 60 subjects participated in the experiment of "Eye Tracking" and "Assessing Self-Emotional Scale". The first stage is the sampling for the research on the visual rules of photographic works. Taking the works of European, American and Asian photographers and the documentary photographic images taken in this research as the samples. Scoring and sampling using expert focus groups. Sampling two groups-- "closure" and "similarity" of Gestalt principle by the results of statistical analysis, and supplemented by the "realism" of documentary photography depending on variables. In the second stage, the selected 33 pattern codes were divided into three groups including "similarity vs closure", "similarity vs realism", "closure vs realism". To use eye tracking experiments to obtain heat map and fixation time parameter. And analyzing the subject's visual fixation distribution area when watching the image. Secondly, assessing Self-Emotional Scale was arranged to evaluate the pleasure and arousal degree of subjective perception of watching image vision with Gestalt principles. The third stage, difference analysis of visual fixation and gaze distribution area, evaluation of the visual representation of Gestalt principles based on eye movement response information. The results of this study showed that there are significant differences in the visual fixation of documentary images in response to the principles of Gestalt Theory. The viewer's "closure" documentary images of Gestalt principles focused more on the facial features of the subject, and at the same time had more intense in pleasure and arousal degree. Subjects in the "similarity" image were dispersed to the overall vision. The perception of transition between "phantom" and "entity" through viewing experience was easily overlooked by focus shift. To sum up the results of exploring the photographic expression form of Gestalt theory, the visual cognition of Gestalt principles has the construction form of image aesthetics and compositional element pattern, which makes it better express the appropriateness of the theme when shooting the theme image. And through the documentary images taken in this study to analyze and explore the relationship of image aesthetics. Reconstructing contemporary documentary photography to practice in the visual form developed by Gestalt theory. It can be used as a reference for the development pattern of photography aesthetics.
