本文從觀看的美學角度討論景觀之觀的問題。「景觀」當然與觀看有關，但景觀同時也是一種觀點、一種美學的創作、一種藝術制造。不同的文化對景觀的觀看自有不同的行動與理解。西方的景觀文化與風景畫的出現有關，而中國的景觀概念則與山水畫的出現有關，二者之間的差異不僅是時空距離之故，更是對於「觀看」行動的理解差異。為了解歐洲與中國景觀觀念如何各行其道，本文作者首先探討中西景觀概念的起源，尤其分析魏晉時期山水景觀的含義。其次，探討歐洲風景畫的藝術化觀看問題，對照以中國山水畫的江山如畫的繪畫觀念。第三探討中國山水畫作品的畫中之觀與畫上之觀的藝術觀看問題，並討論當代地景藝術的景觀涵義。論文最後指出筆墨之觀作為景觀文化傳輸要件的意義，並指出山水筆墨在當代前衛藝術中的創作與傳承。

This paper examines the question of looking at a landscape under an aesthetic standpoint. A “landscape”, far from what can be usually imagined, is not a work of nature. It is first a viewpoint, an aesthetic creation, an artwork. It exists only through the one who becomes conscious of it. Therefore, it doesn’t exist without a viewer. Different cultures have different landscapes, and historically, there exists two main types of landscapes: the Europe Renaissance’s that created a new relationship to the world and to nature through landscape painting, and the “Chinese landscape culture’s” that proposes from the beginning a specific “mountains and waters” painting. The differences between them not only rely in their structure of space, but mainly in the viewpoint, and the way the watcher of the landscape looks at it. Thus the paper first examines the origins of “landscape” in both traditions, and their relationships to painting. It then focuses on the question of “artialisation”, considered by some specialists as the main explanation for the origin of landscape in Europe and in China, showing its differences with the Chinese concept of “like a painting” (ruhua). The third step concerns the viewpoint in and on a “landscape” painting, or on contemporary art, before examining in the last part the issue of the way contemporary Land Art is reinterpreting Chinese “ink and brush” in its relationship to landscape.