在戰後臺灣美學的發展過程之中，意境美學是被闡釋最多的東亞美學理論，劉若愚、杜國清、葉維廉、王建元、葉嘉瑩也將之關聯於西方當代的詮釋學現象學，從事中西比較美學之研究，本論文對此研究史加以重檢，本論文並對意境美學的三個環結與海德格存有思想的三個進程進行對比，以整體底呈現二者的相通性，也由此顯示，臺灣當代水墨與抽象山水的美學與西方現代主義美學與後現代思想的會通，必須具有此一意境美學與詮釋學現象學美學的比較美學的理論背景。本論文第一節探討詮釋學現象學美學在臺灣當代美學中的發展。繼而第二節探討德格藝術觀的三個環節，並對比於此發展出意境美學的三個環節。最後，本文第三節論述臺灣當代水墨與抽象山水的美學諍議。

In the development of Taiwanese aesthetics' aesthetics of Yih-jung is one of most important theory that combines the Chinese aesthetics tradition and the Taiwanese reception of hermeneutical phenomenology of aesthetics in western philosophy. This paper tackles the development of Taiwanese aesthetics of Yih-jung and illuminates the foundation of the compatibility of aesthetics of Yih-jung and the Heideggers thinking about Being and hermeneutics. In the last section of this paper, through the perspective of the compatibility between eastern and western aesthetics I reexamine tackle the disputes of the painting theory in the movement of Taiwanese abstract painting and the modernization of Chinese ink painting after second war.