Abstract

About the art of painting, the artist is seeking for the description of the landscape, the degree of personal participation determines the form of the painting. Furthermore, In order to show the art of painting scenery painter for the interpretation of spatial relationships. In any event these two problems in the theory of traditional Chinese landscape painting, or in contemporary Western aesthetic theory,都is worthy of attention. This paper from the Chinese landscape theory home Guo Xi's regardless of the control of contemporary French phenomenologist plum Los - Ponty's theory, compared to the contemplation of these two's aesthetic theory, try to phenomenology of aesthetic theory the future of traditional Chinese painting aesthetics theory, conduct an innovative interpretation. Regarding the art of painting, the style of a work is determined by the painter's participation in the landscape that he wishes to depict. This is an issue worthy of attention in the theories of either traditional Chinese landscape painting or contemporary Western aesthetics. This paper is meant to compare the writings of Guo Xi, a theorist of Chinese landscapes, and the aesthetic theories of Maurice Merleau-Ponty, a contemporary French phenomenologist, interpreting the aesthetic theories of traditional Chinese painting in a brand new way through the aesthetic theories of phenomenology. After a brief introduction of the background of the research, the writer succinctly states Guo Xi's theories of painting and explicates his theoretical framework with some diagrams. Then a comparison is made between the aesthetic issues contained in Guo Xi's theories of painting and the aesthetic thought of Merleau-Ponty's phenomenology, focusing on Guo Xi's aesthetic issues-including "the heart of woods and streams," "taking the view with your heart on the spot within the mountains and waters" and "three perspectives-with references to Merleau-Ponty's theories from "Eye and Mind."