With respect to art, we mainly discuss the issue of 'space', and we generally believe that there exists the so-called 'art-space'. However, Heidegger considers art in a very different way which is phenomenological. With phenomenological reduction, he reinterprets how the art-space exists, and he also endows art with a brand new meaning, that is, ¡§opening¡¨ , which is the way one expresses oneself. Nonetheless, Heidegger explains art in a dialectical way, that is to say, the negative way. However, that is the reason for Chinese landscape painting to be painted. In this essay, I try to yield further evidence for Heidegger 's theory, by investigating into Chinese landscape painting. The 'art-space' is hidden by the 'blank' spot of the landscape painting, so it is not emptiness, but gathering 'space', 'space itself', and 'light' into a whole; at the same time, it shows truth, which is lived truth. The 'art-space' does not come from imitating, but from a 'text-space' between likeness and unlikeness.