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This article examines the concept of  qingjing  (sentiment-landscape) and its related aesthetic notions, such as  qingjing  (sentiment-scene) and  yijing  (idea-scene) in Wang Fuzhi’s and Wang Guowei’s aesthetic theories. We will compare these categories of aesthetics with the German aesthetic notion of  Stimmung  from the early Romanticism to Schopenhauer and investigate into parallel evolutions and influence studies. Although Goethe, Schiller, and Schopenhauer do not belong to the group of German Romantics, their conception of  Stimmung  and the spiritual eye draw on aesthetics of German Romanticism. Wang Fuzhi’s conception of  qingjing  is still inscribed into Chinese classical thought, such as Daoist cosmology based on the original Breath and the epistemology of Indian Buddhism, such as  pramāṇa  (measure). We will compare the parallelism in thought evolution regarding Wang Fuzhi’s theory of  qingjing  and the German concept of  Stimmung , both as a crystallization and intertwinement of indissociable sentiment and landscape. Many German writers proclaim that landscape is the projection of subjective emotions from inside to outside, so it can be understood as an externalization of  Stimmung . According to Wang Fuzhi, sentiment unfolds as landscape, and landscape, driven by a vital impulse, is truly endowed with emotion. There is still a dichotomy between subject and object related to  Stimmung , but this is not the case for  qingjing . Moreover, we will also investigate the direct influence of  Stimmung  on Wang Guowei’s conception of  qingjing  and  jingjie , since Wang Guowei has already been influenced by the aesthetics of German Romanticism and Idealism, especially the notion of  Stimmung . This influence also contributes to Wang Guowei’s deviation from Wang Fuzhi’s aesthetic theory.

La Stimmung du paysage dans l’esthetique allemande et les concepts esthetiques chez Wang Fuzhi et Wang Guowei