(Subsections: Sacred places; Intimate landscape; Foggy landscape; The concrete and the mediative landscape, Reel-picture Figural pantheism.). From the viewpoint of the evolution of typical Chinese landscape painting, the liaison between the Chinese artist and nature had a determinant significance. In China the clear and conscious opposition of man and nature had already evolved. Submerging himself in nature helped man find himself and his own inner world. The approach of Chinese art is pantheistic, as it fills the lifeless elements and objects with soul and ascribes magic power to them. Mountains and waters are highly respected. The typical picture of an intimate landscape is of a village, of water, and of mountains. Mountains signify tranquillity, eternity, timelessness. In opposition to this, water is the symbol of motion and of change. The composition of the landscape, whose moods are known to the viewer from poetry, suggests the desire to escape; it is the entrance to a distant world. In the European context, a quite significant representative of panoramic landscape painting emerged, Joachim Patinir (1480-1524), a painter from the Netherlands. The creation of the new type of painting (Weltlandschaft), the ’World Picture’, owes much to the master working in Antwerp. The Weltlandschaft expresses the unity of the universe. The eye roams freely over the huge distances, the landscape of rocks, forests; it passes along the river touching towns, and through the wide countryside cultivated by people who fade into infinity. The figure can hardly be recognised in the landscape. The question arises in a natural way: whether the Weltlandschaft with its metaphysical content is as much the picture of pantheistic self-consolation as in the case of Chinese painting.