Analyzing On The Tension Being Perceived By Visual Perception And The Way Of Interpretation Of Artwork Into Viewer's Experience

It is important to analyzing the phenomena that the tension style being perceived by visual perception. Teachers or students, creator or acceptor, connoisseur or viewer, no matter which one's perception on the form absolutely are not limit to the area of concerning about how to figure out any pattern or spot out any graphic from the picture-plane only by viewing the figure or the configuration. From an angle of analyzing the psychology of graphic-making, this article attempt to give some advices about Aesthetic teaching and learning practice based on the Analyzing about the interpretation of artwork into viewer's experience in the real curriculum environment.It indicates that viewers have been deep into the evaluation as soon as they began to analyze the tension style of artwork. The analyze involve into the style of the art work and social factors it concerned by and the connection between them, the aesthetic mentality of each subject, not limit to the graphic on the picture plane or the image being projected on the retina.The whole tension style that the picture indicates is formed by the tension existed among the graphics. To analyzing the factors of the perception on the tension of the graphic on the picture plane should based on the mentality of the viewer, and our vision should span from detail to whole body, from the still-style picture to the moving. In the analyzing, the psychological and physical elements of the vital spirit's production would be aware of, and then the classical would be known easily. Concerning the phenomena of perception of the picture's tension style , this article points several aspects as follows to explain the viewer's appreciation: unit of vision; viewers'emotion; the sensory environment. The quantity and the shape of the unit of vision, the organization and the scale of their effects, the paradox between the graphic's orientation and trend, and what incurred in our mind such as image,plots, all above interacting with viewers'everyday visual psychological pictures and experiences. And then the new excitement and memories concerned about the image followed, the effects on the perception of the tension style occurred. After that, we should deal with a basket of questions about how to transplant the image we talked above into the context in the curriculum of visual art: the necessities for doing so, the art of how to do so——the angel of view,expanding the curriculum,subject and object of the interpretation, the cost of the curriculum's practice…….The optimized education would be realized only by fully mutual-interpretation on which both teacher and student depended, and their perceiving and communicating should based on the experience of the perception of the tension style.Finally, it does aim at introducing into a way of thinking and optimizing the designation on curriculum in all subsequent mend that we attribute the tension style to the analysis of the curriculum's"picture". All what we do is to form the structure or designation of curriculum into a whole, to make the curriculum and the pedagogical practice more artful. And then, as what student learning and experiencing, the content and the form of the curriculum should be concerted, and the curriculum should be made into an"artwork"under the common effort of teacher and student.Firstly, as the practitioner and researcher of the visual art education, facing to the material of visual art, we should aware that the tension existed between manifestation of the content and degree of the effort on the designation of curriculum. Secondly, on dealing with the distribution of the material of teaching and the designation of curriculum, we should colligated the efforts of teachers from each section and make the distribution concerted. For the designation of curricula that could be effectible, it's beneficial to teaching to preplan a"picture"to describe the tension between the effectors insulted into the curriculum.As for the teachers and students to learn by viewing art work, it does concerned about how to stir up activity both of them and enlighten each other. We interpreted the curriculum's structure mainly through this article from the angle of analyzing the tension style on the picture plane, but it does not mean that some mode will be available at hand and there are not any examples and schemes would be readily provided. We just attempt to help educators to develop more ways to optimize the art curriculum with an scientific attitude and to view the usual things around us with a new mind often. Only the joyfulness of learning of art be perceived could the spirit of creating be produced.