Mood Of The Painting

The mood theory is summed up in the long-term practice and aesthetic experience, synchronously a product of continuous integration and interaction of a variety of academic thoughts in ancient China, which embodies the unique development of aesthetic sense and aesthetics at the level of psychological in ancient China. It is the advancement and progress of the theory that contributes to the double structure equipped in the process of creativity of traditional Chinese painting in the aesthetic senses: the one is the artistic representation of objective things; the other is the performance in terms of subjective spirit. And the organic relationship between the two has constituted the sense of beauty of traditional Chinese painting. Artistic painting is neither the simple depicture of objective subjects, nor the random conjunction of subjective ideas, but the unity of both objective and subjective world. It is also the embodiment of highly harmony in the aspects of the natural beauty, artificial beauty and artistic life achieved by the painters who stick to such principle: observe the nature and understand it.In my paper "The Artistic Conception of Painting - In My point of View ", I simply combed through the ancient and modern papers relating to the theme which have their own understanding of the "mood", aiming to emphasize the importance of aesthetic experience to the artistic creativity.In artistic creation, one piece of natural things, if possessing sense of beauty as you think, will certainly be able to show in the eyes of the people a specific picture which will occupy your entire awareness instantly to stimulate you to appreciate it attentively, even forgetting all things other than it temporarily. Wang Guowei in his famous work "word of human language" classified the realm of words into two categories, namely "having me in the scene" and "without me in the scene" . As a consequence, I tried to treat this classification as the breakthrough point to set out my understanding and practice towards the two territories of the painting through the analysis of both ancient and modern artistic works in combination with my own creativity.