關於色彩和諧的研究與論述，各時代的色彩學家試圖以科學方法將色彩調和系統化，但是對於個人主觀經驗的色彩和諧認知，常為人所忽略。約瑟夫‧亞伯（Josef Albers）斯於1950年開始創作〈向方形致敬〉（Homage to the Square），直到1976年去世。以大量、重複的單色、無肌理、平塗、逐一內縮的方形色塊，進行了一系列色彩實驗，對於硬邊藝術（Hard Edge）、歐普藝術（Op Art）的發展，影響甚鉅。本研究以〈向方形致敬〉系列作品為例，以文獻分析及實證研究，探討和諧與觀看者的美感認知及喜好度之間的相互關係。並探究觀看者對於〈向方形致敬〉系列作品中的色彩協調，與色彩調和理論中的色彩和諧之認知差異。本研究結果顯示色彩系統之色彩調和理論與色彩配置，仍有其侷限或不適用之處。而觀看者對於色彩和諧的認知，也因性別、學習背景、個人經驗與主觀認知而有所差異。

關鍵字：約瑟夫‧亞伯斯、〈向方形致敬〉、色彩調和理論、色彩和諧

Chromatists of all ages have attempted to use scientific methods to systemize color harmony in numerous studies and discourses. Few studies have investigated subjective perceptions of color harmony. Josef Albers began to work on Homage to the Square in 1950 and continued the creation until his decease in 1976. Each of the works from said art piece comprised square color blocks that were painted using flat wash in the same color, were textureless, and became progressively smaller within each other. The works were used to conduct a series of color experiments, and their creation has a fundamental influence on the development of Hard Edge and Op Art. This study explored the works from the Homage to the Square series through literature analysis and an empirical design to identify the relationship between color harmony and viewers’ aesthetic perception and preference. We observed the difference between the color harmony perceived by viewers and that suggested by the color harmony theory in terms of works of the Homage to the Square series. The results revealed that the color harmony theory and color scheme exhibited limitations and limited applicability. Viewers’ perceptions toward color harmony differed by their gender, education background, personal experience, and subjective perceptions.

Keywords: Josef Albers, Homage to the Square, color harmony theory, color harmony