中國人感受宇宙的深邃是無形無色的虛空，「虛空」卻是萬物的根本，生生不息的創造力。
宗白華論中西美學是以超脫的客觀意識描寫大千世界，他在〈中國藝術意境之誕生〉中提及畫家詩人是「遊心之所在」，就是他獨闢的靈境，創造的意象，創作的中心思想。宗白華先生的《美學散步》中不斷被提及的宇宙、人生、藝術、美、心靈、節奏、旋律、飛舞、音樂化、體驗的語意，就包含了他詮釋中國藝術的至境，也顯現出他獨特的人生至境。
宗白華與朱光潛先生在漫長建構中國美學的過程是艱辛的，他倆的學貫中西，融會貫通，確實是把中國美學提練到了極致的境地，二位學者同年生也同年死，在開闢美學新徑上相互輝映。藝術境界主於美，所以一切探究的根源都是來自於心靈的泉源，沒有心靈的反映影射，就無所謂那種具有穿透性的美，這種出自於主觀的生命流轉情調與自然景象交互滲透，揭示了中國美感的靈境，構築藝術所謂的「藝境」，自然透過「意境」，彰顯出來的藝術品就是我們所謂的繪畫「藝境」，其精神價值與生命感通是相串連的。
本研究重點在透過中西藝術實踐引證宗白華與朱光潛的美學意境理論，以主觀「人」的情意加上客觀「物」的景緻，在虛實相照的人生境界，湧現了一個獨特的美學宇宙與展新的意象，為新時代美學注入了豐富的元素，也直接替中國美學開闢了新境，這就是此篇文章透過藝術實踐的過程引證宗白華與朱光潛對意境的最佳詮釋。
Void, which is how the Chinese feels towards the vast and intangible universe, is the root of everything and origin of perpetual creativity. Zong Baihua observes Chinese and Western Aesthetics in an objective way. He mentioned in his book The Birth of Chinese Artistic Conception that painters and poets’ work reflects how they feel and what they yearn for.
In Zong Baihua ‘s Walking Aesthetics, words such as universe, life, art, beauty, spirit, rhythm, melody, dancing, musicalization, and experience appear repeatedly. These words not only explain the supreme conception of Chinese aesthetics, but also reveal his unique outlook on life.
The long journey of how Zong Baihua and Zhu Guangqian developed Chinese aesthetic was difficult. They acquired and mastered both Chinese and Western Aesthetics and have brought Chinese aesthetic up to extreme. The scholars were born and passed away in the same year. They collaboratively established a new path of aesthetic. They claimed that art work is about beauty, and beauty originates from spirit. Without spirit, there will be no astounding beauty. This kind of beauty derives from the interaction of an artist’s subjective sentiment and the natural scenery. It reveals the spiritual conception of Chinese fairness in a painting. What the scholars meant of aesthetic conception of a piece of art work combines artistic and spiritual conception. The art work reflects the artist’s state of mind at that moment.
The research aims to prove Zong Baihua and Zhu Guangqian’s theory of aesthetics conception through practicing Chinese and Western aesthetic. It concludes that when an artist’s subjective sentiment and the nature’s objective scenery interacts with each other, a brand new conception of aesthetics is born. Not only does it infuse new element to temporary aesthetics, but leads Chinese aesthetics to a higher level.
