圖畫在審美意識的理解下，有淪為藝術虛無主義之危機，即：吾人無法眞正區分出「藝術作品之存有」以及「工具存有」；這就導致了「藝術」迷失於「非藝術」之中。為了克服這種困境，作為圖畫世界與現實生活世界之區分的「畫框」必須被重新視為圖畫存有之必要部份。圖畫世界作為一「事件」就隨著圖畫的自我表現而生發。這樣的圖畫世界是以虛擬的方式將涉入圖畫中之諸存有者的存有再現出來；它也因此得以與現實生活世界相區隔。但是，這圖畫世界卻是只有在人的理解活動中才能被開啓的，所以它與現實生活世界之間的距離也必須藉由理解活動才得以彌合；我們稱這種彌合為「視域融合」。

　　　　　With the comprehension of aesthetic consciousness, picture would be threatened with nihilism of art, that is, we can not really distinguish be-ing of art from that of equipment, and as a consequence art would be lost in non-art. To resolve this problem, frame should be re-considered as a requirement for the be-ing of picture again, With the transformation of medium, it follows from the self-presentation of picture that the picture world as an “occurrence” happens. Such picture world virtually represents the be-ing of beings involved in the picture, and what makes picture different from real life world is virtuality. But only in human's coming-into-understanding does the picture would be opened, therefore it is also by the coming-into-understanding that the distance between them world be reconciled, we call such reconciliation “the fusion of horizons”.