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作为艺术思维方式的体验， 是艺术理论中一个重要的不可或缺的范畴。体验论有两大特征： 一是其向内的心理活动特征， 即通过“向内”最终在更高层次上感悟外在世界甚至最高本体； 二是其强调主体能动创造性的特征。中国式的“体验”由老庄奠基， 辗转发展， 成为了中国哲学思维和艺术思维的普遍方式。田园诗人和山水画家很好地完成了将体验由哲学思维向艺术思维的转化。现代西方体验论明显区别于中国式的体验论， 前者强调“自我观照”及操作技术； 后者注重超越个体自身之体验， 力图体悟最高本体， 具有玄虚飘渺性。１９世纪俄国式的体验论介乎二者之间。它将体验与道德反省进行了有机整合。
Experience as an artistic way of thinking is an important and indispensable category in art theory. Experiential theory has two major characteristics: First, its inward characteristics of psychological activity, that is, through “inward” finally at a higher level to perceive the external world or even the highest ontology; second, it emphasizes the main creative motivation features. The Chinese-style “experience” was laid by the Lao-Zhuang government and gradually developed into a universal way of thinking and artistic thinking in China. Pastoralists and landscape painters have done well to experience the transformation from philosophical thinking to artistic thinking. Modern Western experience theory is obviously different from Chinese-style experience theory. The former emphasizes “self-reflection” and operational techniques. The latter emphasizes the transcendence of the individual’s own experience and attempts to realize the highest ontology and has the metaphysical nature. Nineteenth Century Russian experiential theory in between the two. It organically integrates experience with moral reflection.