Abstract：This paper try to discuss the spirit in Chinese ancient art that had been represented by The Hong Lou Meng using the theory of “ontology of qing（emotion）” of practical aesthetics. The Hong Lou Meng distinctly regarded the qing （emotion） as the ontology of life and made it possess to metaphysical character and became transported spirit, it rooted（derived） from real world although. In The Hong Lou Meng, qing（emotion） was not only narrow desire and appreciation between male and female but was an affection for the life, social and world, a transcendent “gnosis”, an “ontology”, a most important element in life as well. There had a strong tradition of long standing in Chinese ancient aesthetics that regarded qing （emotion）as an ontology of the life. The theory about ontology of qing (emotion) had criticized but complemented with the Confucian Aesthetics and the Aesthetics of Daoism in Chinese entient aesthetics. They were made up of various and cross network of the Chinese theory of living ontology. In ancient Chinese, the theory about ontology of qing (emotion) was represented by Li-Zhi’s Tong Xin Shuo (the theory about young-one natural soul ) and Tang-Xianzhu’s Wei Qing Shuo（just emotion）,was symbolized by Qu-Yuan’s loyalism and patriotism and the Hong Lou Meng was it’s representative of writing.
2011, Vol. 1 
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