本文試從一九三五年發行的《國畫月刊》「中西山水畫思想專刊」切入，並延伸至民國時期美術期刊的相關論述，透過中國「山水畫」與西方「風景畫」的討論，關於民初畫論裏自然話語的借用、引喻及轉介過程，論述包括中國山水與西方風景畫歷史的追探與比較、畫面空間裏透視法與三遠法的辯證，以及山水再現是想像還是寫實等課題。「中西山水畫思想專刊」的出版揭示著三○年代上海畫壇，除了追探具有歷史意識的繪畫傳統外，同時也使用了獨特的語言表述來回應西方，他們在中國引以為傲的山水畫和西方盛行的風景畫裏，找到相近的題材，發現雙方對於自然的對應關係，正足以構成一個中西美術共同性及差異性的比較研究。誠然，我們所面對不只是山水與風景體材而已，還涵蓋精神性、寫實性或科學性等各種表徵自然的形式，這些都是中國召喚自然，表現自然的方法，它是一種奇特的文化景觀。

The present essay begins by exploring the Special Issue on Chinese and Western Landscape Painting Thought issues by the Chinese Painting Monthly in 1935. The evidence contained within the journal, together with materials found in other Republican period fine arts periodicals, is then used to examine the question of how debates in the fields of Chinese and Western landscape took shape with regard to the early Republican borrowing, adaptation, and transmission of the notion of nature and naturalness. The paper examines how the two schools of landscape painting theory analyzed the concept of nature by exploring and comparing the histories of the two traditions, engaging in dialectic on the fixed-point and layered perspective of natural space, and arguing whether the representation of landscape was an imaginative or realistic endeavor. The publication of the special issue demonstrates the extent to which the painting world of 1930's Shanghai explored the historically conscious tradition of painting and used distinctive language in responding to the West. Within the lineage of Chinese landscape, of which their countrymen were so proud, and flourishing world of Western landscape, they found similar subjects and points of correspondence in the two tradition' conceptualization of nature. Together, these observations formed the basis for the comparative study of the fine arts of China and West. Indeed, what we are facing is not merely the subject of landscape, but in fact the formal manifestations of mental, realistic, and scientific constructs. This is the Chinese call to the wild-the expression of nature as a marvelous cultural landscape.