This paper discusses the line drawing art in traditional Chinese painting from two aspects: lively spirit and personality training, so as to reunderstand the essence of traditional aesthetic perspective.

It advises that mountains - and - waters painting should express Tao and the lifelike spirit of nature.

In drawing theories of all previous dynasties,traditional Chinese painting concerning spirit has drawn a considerable discussion.

The disposition of heart and soul mentioned in Zhouyi constantly accommodates with Chinese Calligraphy which possesses a natural homomorphism,namely,going all lengths at full length with circumference and coherence in a unified entity which embodies the beauty of style in circulating veins of interlocks.

His classic elegance and detached character pushes Chinese painting in the late Ming Dynasty to "brush and ink" and ever after.

The creation and images in calligraphy is often expressed by the words and expressions, such as "momentum" or "character".

He laid emphasis on "a true-to-life depiction", which consists in answering the source of artistic creation correctly, laying stress on "character", rising to the lifelike level; setting off the objects described intentionally in his poems.

The Great Importance and Signficance of Qiyun in Chinese Treditional Picture;

Study at the charactersitics of poetic thinking in Chinese ancient oriental aesthetic from“Qiyun”;

“Qiyun”is originated from the object,the painter must grasp it by heart not by eyes,in which the painter should use his or her comprehension and wisdom.

Tentatively on QIAN Zhongshu s Theory of Re-arranging the Tone Clusters in "Six Techniques for Painting"——Concurrently on the theory of "lively artistic conception;

As a result, she often employed some painting devices and techniques such as imagery, artistic conception, hue, and brush wielding, in her ci writing so that her ci is full of painting elements.