關於繪畫藝術，畫家對於所欲描寫的景觀，親身參與的程度決定了這幅作品的形態。再者，繪畫藝術展現了畫家對於景物的空間關係的詮釋。這兩個問題無論在傳統中國山水畫的理論，或者在當代西洋美學理論，都是值得重視的問題。本文擬從中國山水畫理論家郭熙的論著，對照當代法國現象學家梅洛-龐蒂的理論，對比觀照這兩者的美學理論，嘗試以現象學的美學理論來對傳統中國繪畫美學理論，進行一種創新的詮釋。

Regarding the art of painting, the style of a work is determined by the painter's participation in the landscape that he wishes to depict. This is an issue worthy of attention in the theories of either traditional Chinese landscape painting or contemporary Western aesthetics. This paper is meant to compare the writings of Guo Xi, a theorist of Chinese landscapes, and the aesthetic theories of Maurice Merleau-Ponty, a contemporary French phenomenologist, interpreting the aesthetic theories of traditional Chinese painting in a brand new way through the aesthetic theories of phenomenology. After a brief introduction of the background of the research, the writer succinctly states Guo Xi's theories of painting and explicates his theoretical framework with some diagrams. Then a comparison is made between the aesthetic issues contained in Guo Xi's theories of painting and the aesthetic thought of Merleau-Ponty's phenomenology, focusing on Guo Xi's aesthetic issues-including ”the heart of woods and streams,” ”taking the view with your heart on the spot within the mountains and waters” and ”three perspectives-with references to Merleau-Ponty's theories from ”Eye and Mind.”