This paper is meant to explore how the aesthetics of landscapes became a graceful hobby shared by those unorthodox Wei-Jin intellectuals in light of four specific aspects: the foreword, the correlations between landscapes and humanistic concerns, the beauty of images in the aesthetics of landscapes and the Neo-taoist beauty of landscapes. Other than comforting those intellectuals' lost minds and providing various pleasures in life, the beauty of landscape also had its internal aesthetic meaning. It's pointed out in this article that there are three states of mind regarding the aesthetics of landscapes, which is inspired by one's internal sense of beauty. The first state of mind is to observe things as they are, that is, to admire the formal or natural beauty of landscapes through their unique images. The next state of mind is to observe things as I see them, that is, the powerful sentiments stored in the aesthetic subject's unconsciousness are evoked during the assimilation between scenery and feelings. This assimilation occurs between humanism and nature, as the humanistic feelings are empathetically projected onto the landscape by means of associating and conceiving so as to humanize and landscapes and bestow them with humanistic beauty. The third state of mind is to admire the beauty of landscapes through metaphysical Neo-taoism, that is, to see the landscapes with such a pure mind and tao that one can attain the beauty of letting the spirit unfold, the natural beauty of the purity of landscapes and the beauty of humanistic landscapes. The three aesthetic states of mind are not necessarily separated; they can infiltrate and assimilate one another, combining in different ways according to the change in the aesthetic subject's state of mind. For people in the Wei-Jin Northern and Southern Dynasties, the aesthetics of landscapes was indescribably appealing, and its elements interwove infinitely according to the differences in subjective states of mind and objective situations.