Abstract

Chinese landscape painting of the screen space with its unique technique of expression, especially compared to Western Perspective actuarial calculation of standard features with a single point of view, this does not arrest the former management of the cement in the visual space In order to show the more evident. This performance also reflects a space In order to Chinese artists and the relationship between landscape, they are not of nature as a vast, cold desert of the objective space, but the switch body associated with them, "can be home to visit," the space , and the landscape painters at this time between the show's seamless integration, the two things I forgot relationship, and living there on Heidegger described this in relationship with the unity of the world, is consistent. According to Heidegger, in a relationship with the world's original, it will Cunyou Zhe not as a thing before hand, but be seen as closely associated with it and hand tools, and this some space nature, is also living there based on this characteristic, expressed as a non-object in nature, the body of the space switch. If the description of an objective, scientific style can be measured ten feet of space makes sense, then it is also based on the original space of this world have only become possible. Based on the performance of Chinese landscape painting and Heidegger this space have spatial similarities, the performance space of its special way, such as "so far of nearly" and "King with human transferrin" and other features, just corresponds to Heidegger describes this a space of time has not indicated this can be avoided, the original ontology structure: "Apart from the" and "orientation." By the similarity of the two who were, in order to open the possibility of one kind of Chinese and Western dialogue. When comparing western painting's 'perspective' technique, which is accomplished through accurate calculation and rigorously set by a single point of perspective with that of Chinese landscape painting, we see that the characteristics of spatial expression in Chinese painting, freed from fixed visual principles, becomes quite remarkable. And these unique characteristics in Chinese landscape paining also reflect the relationship between Chinese painters and space: it is not a strange, vast and indifferent space for them, rather, an intimate one in which they 'dwell' and 'wander' . In this way the relationship between Chinese painters and nature is one and appears to be similar to the united relationship, according to Heidegger, of Dasein and the world. Dasein as 'Being-in-the-world' never regards beings as objects which are opposite to us and are 'present-at-hand', but rather as equipment ready-to-hand which Dasein is concerned with. Therefore, according to Heidegger, Dasein's spatiality, based on this ontological structure-'Being-in-the-world ', is nonobjective and involved with Dasein's Being. And consequently, the measurable and objective space of science is possible , only if it roots in the primordial space that Dasein 'signifies'. The relationship between Chinese painters and nature mentioned above results in special ways to express space in Chinese landscape painting, such as' making remote things near' and 'scenery following man's view ', which are correlated with the ideas of' de-severance ' and' directionality ' in Heidegger. Illustrating these similarities provides us an opportunity to have a dialogue between Chinese and western thinking