## 2 Literature Review  
### Studying the Aesthetic Experience  
There appear to be a variety of definitions of \"model\" in the literature, each of which is determined by the field to which it pertains. The Merriam-Webster [15] dictionary definesa model as \"a description or analogy used to help visualize something (such as an atom) that cannot be directly observed\". There are many different sorts of models, including conceptual models, exploratory models, and data models. This section reviews some fundamental psychological models of the viewer's experience with art. Many scientific models reflect a certain portion or facet of the world, which serves as the model's target system [16]. The psychological models presented below have structural commonalities. They contain three components. Consider these features: (1) Inputs that enhance the experience, such as personal traits, previous experiences, sociocultural status [17], and other artwork aspects [18], (2) input processing mechanisms, and (3) multiple intellectual and behavioral effects (outputs) of processing art, including positive or negative affect, physiology, actions, appraisals, meaning-making, novelty, transcendence, aesthetic, self-adjustment, social, and health outcomes [19].  
We begin by briefly reviewing some of the core aesthetic experience models. The objective of [PERSON]'s [20] model was to examine the cognitive and neurological aspects of the viewer. Hence, he concentrated on three stages of human visual recognition based on visual studies: \"early\", \"intermediate\", and \"late\" [20; 21]. Moreover, he concurred that, like any other visual stimuli, the visual features of artworks are received and processed by several brain regions [21]. Primarily, he thought that early and intermediate vision perceive the formal and most significant parts of an artwork, whereas later vision processes the content [20]. The model of [PERSON] et al. [22; 23] consisted of five stages, namely: (1) \"perceptual analysis\" (low-level visual features); (2) \"implicit memory integration\" (previous experiences, expertise, schema); (3) \"explicit classification\" (content, style); (4) \"cognitive mastery\" (interpretations, associations, links to prior knowledge); and (5) \"evaluation\" (judgement and aesthetic emotions). The procedure is circular and can be repeated if the viewers are unsatisfied or if another element catches their eye. After a quick discussion of aesthetic experience's components, the next part discusses emotions.  
Aesthetic experience is multi-layered, affected by the qualities of the artwork, the viewer's personality, and the context. A list of art criteria includes canvas, multisensory, and multidimensional objects [24], and immediacy and tangible presence, such as with gold [25] or everyday objects [26]. Larger artworks may be more enticing [27]. In cases involving famous artworks or exact duplicates, original artworks are the most desirable [28]. Brushstrokes or fingerprints reveal the artist's labor and touch [29]. Moreover, there is the question of whether objects qualify as art [30]. Personal qualities are as important in art as any other factor. These art skills distinguish novices from experts [31]. People with a higher income and education are regular museum visitors. Single or group visits generate less interest than single visits [32]. Context influences a person's engagement with art, such as displaying and hanging paintings or a sculpture in the room's center [33]; using cases or ropes as borders [34], labels, and audio instructions [24]; and the use of warm or cold lighting [35]. Architecture, design, and cultural influences reassure visitors [36]. Other factors include mobility patterns [35], museum fatigue [37], and the position of the body during viewing, such as standing, walking, or sitting [38]. Viewing distance [39] and time spent viewing art [11] are also relevant.