This paper examines the interpretation of space in terms of its visual aspects by looking at the connection between physical and psychological space in reference to the represented space in a painting. The artistic representation of space in a painting is actually a simulation of physical space, which endeavors to present a virtual three-dimensional space both visually and psychologically. The above theory will be supported by a comparison of related western art theories dealing with the representation of space. This paper provides guidelines for discussion as related to the following three issues dealing with representation of space in traditional Chinese paintings: 1.The representation of three-dimensional objects and its relation to space 2.The representation of perspective and depth in a painting 3.The historical development and dialectics of traditional Chinese art theory of "three distances" In traditional Chinese creative theories, the representation of three-dimensional objects relies on the observation of convexity and concavity, yin and yang, which is transferred into the highlighting and shadowing of strokes and the thinness (bright) and thickness (dark) of ink. In traditional Chinese art theories applied to paintings, observations of critics through history on the management of spatial depth include: •Viewing distance and width of viewing angle determine the size of the landscape. • Managing positions and locations • In order to have spatial depth, the objects in a painting must show contrast in terms of closeness and farness, details and brevity, clarity and obscurity. • The size of the people in a painting is the criterion for the proportion of trees, rocks and houses. • The thinness and thickness in the use of ink indicate closeness and fatness respectively. • Spatial depth is constructed by the interplay of frontal and back light sources, the use of light and dark ink, quantity of strokes, etc. The setting of eye level, angle, distance and range is generally known as framing. Framing determines both the viewing angle and distance. In Western painting this is also know as projection. This technique projects an image on a two-dimensional canvas according to the proportion of the object's size and distance. However, traditional Chinese paintings generally adopt the 45 to 60 degree bird 's-eye angle as the basic framing device with the bottom foreground remaining unchanged while adjusting the upper part of the painting to a wider angle to take in objects from three angles, eye level, inclining, and bird's-eye view. Therefore, the three distances of horizon, depth, and height can all be incorporated into one frame. This technique of framing can be called "angle-shifting" or "multi-angle" method.