What are the neural mechanisms underlying beauty based on objective parameters and beauty based on subjective social construction? This study scanned participants with fMRI while they performed aesthetic judgments on concrete pictographs and abstract oracle bone scripts. Behavioral results showed both pictographs and oracle bone scripts were judged to be more beautiful when they referred to beautiful objects and positive social meanings, respectively. Imaging results revealed regions associated with perceptual, cognitive, emotional and reward processing were commonly activated both in beautiful judgments of pictographs and oracle bone scripts. Moreover, stronger activations of orbitofrontal cortex (OFC) and motor-related areas were found in beautiful judgments of pictographs, whereas beautiful judgments of oracle bone scripts were associated with putamen activity, implying stronger aesthetic experience and embodied approaching for beauty were elicited by the pictographs. In contrast, only visual processing areas were activated in the judgments of ugly pictographs and negative oracle bone scripts. Results provide evidence that the sense of beauty is triggered by two processes: one based on the objective parameters of stimuli (embodied natural beauty) and the other based on the subjective social construction (social endowed beauty).

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Most previous neuroaesthetics research has been limited to considering the aesthetic judgment of static stimuli, with few studies examining the aesthetic judgment of dynamic stimuli. The present study explored the neural mechanisms underlying aesthetic judgment of dynamic landscapes, and compared the neural mechanisms between the aesthetic judgments of dynamic landscapes and static ones. Participants were scanned while they performed aesthetic judgments on dynamic landscapes and matched static ones. The results revealed regions of occipital lobe, frontal lobe, supplementary motor area, cingulate cortex and insula were commonly activated both in the aesthetic judgments of dynamic and static landscapes. Furthermore, compared to static landscapes, stronger activations of middle temporal gyrus (MT/V5), and hippocampus were found in the aesthetic judgments of dynamic landscapes. This study provided neural evidence that visual processing related regions, emotion-related regions were more active when viewing dynamic landscapes than static ones, which also indicated that dynamic stimuli were more beautiful than static ones.

The classic theory of face perception holds that the invariant (e.g., identity and race) and variant (e.g., expression) dimensions of face information are independent of one another. Two separate neural systems are involved in face processing. However, the dynamic theory of face perception indicates that these two neural systems interact bidirectionally. Accordingly, by using the emotion categorization task and morph movies task, we investigated the influence of facial attractiveness on facial expression recognition and provided further evidence supporting the dynamic theory of face perception in both the static and dynamic contexts. In addition, this research used familiar celebrities (including actors, television personalities, politicians, and comedians) and explored the role of familiarity in face perception. In two experiments, the participants were asked to assess the expressions of faces with different levels of attractiveness and different levels of familiarity. We found that regardless of being in a static or dynamic face situation, happy expressions on attractive faces can be recognized more quickly, highlighting the advantage of happy expression recognition. Moreover, in static and dynamic familiar face situations, familiarity has a greater impact on expression recognition, and the influence of attraction on expression recognition may be weakened or even unaffected. Our results show that facial attractiveness influences the recognition of facial expressions in both static and dynamic contexts and highlight the importance of familiarity in face perception.

People often express emotion in language using weight (e.g., a heavy heart, light-hearted, light humor, or heavy-handed), but the question remains whether these expressions of emotion are rooted in the body. Six experiments used a priming paradigm to explore the metaphoric relation between weight perception and emotional words. Experiments 1 and 2 investigated the influence of weight perception on judgments of emotional words and the influence of emotional words on judgments of weight, respectively. A significant difference between the consistent condition (e.g., lightness corresponds to positive words and heaviness corresponds to negative words) and the inconsistent condition (e.g., lightness corresponds to negative words and heaviness corresponds to positive words) was found in Experiment 1 but not in Experiment 2. Experiments 3, 4, and 5 were conducted to exclude potential confounds. Experiment 6 was a repeated-measures study that was conducted to verify the weight-emotion effect. The study confirmed that weight perception affected judgments of emotional words. The results contribute to the growing literature on conceptual metaphor theory and embodied cognition theory.