風景是由物質元素與形式兩者結合的不斷生成變化過程，物質提供的粗糙基底，作為後續形式轉化的支撐，風景的形式對此一粗糙基底加工。本文第一部分談風景的三層物質性條件。地理的條件以地質構造和運動為基底，結合氣候系統而提供物質性。生態條件則是由生物分佈的型態所展現，形成生態系的風景。文化的條件則考慮人類介入所造成的巨大改變，透過文明與技術形成了專屬於人類的風景面貌，其中包含歷史的與美學的條件：歷史條件針對時間向度所形成有文化特徵的風景，點出記憶、遺跡、廢墟的樣態；美學條件的風景點出身體感、情感的感性面，視風景為藝術作品的一環。第二部分則順著物質想像，談物質條件的轉化，以石與雲的意象為例，對風景構成提供一種比較的、描述的分析。不同文化的轉化方式不同，因此，以石頭、雲的物質意象為例，在文化多樣性的視野下，看待藝術轉化和物質意象的關係。風景的物質性顯示出宇宙性的轉化，人類物種參與轉化以建構起生存環境。人類在此轉化中朝向世界開放，被風景所圍繞。

Landscape is in a constant becoming animated by the composition of form and material elements. Materials offer the basis for further transformation so that forms can work on them. Based on the three material conditions, the first part of this paper deals with the materiality of landscape in three dimensions. Geographic condition is based on geological structure and movement, combining the climate system as its factor. Ecological condition considers the biological distribution in the climate system. Cultural (including historical and aesthetic) condition is due to the human intervention in both geographic and ecological conditions, assuming that civilization and technics constitute the unique cultural landscape. Historical condition points out the function of temporality and counts the existence of memorial sites or ruins. Aesthetic condition reveals the sensibility immanent in landscape. The second part gives a descriptive and comparative analysis of landscape, by way of material imagination that gives a variation of transforming material conditions. Stone and clouds are examples to demonstrate how different cultures choose their strategies to constitute landscape, assuming Chinese landscape culture as background of comparison. The main concern of materiality in landscape is to indicate the cosmic transformation in which human species constructs their environment. Human beings are open to the world, surrounded by landscape.