Recent theories of the aesthetic appreciation of nature or natural environments have done much to clarify what might be essential to such appreciation. Such accounts are incomplete, however, as they depend on a strict separation between works of art and nature itself. This paper shows how classical Chinese landscape painting offers a way to appreciate both art and nature simultaneously, under the same set of concepts. The core of the argument consists of using both philosophical and art historical resources to demonstrate how Chinese landscape painting can enable us to learn to see particular features of landscapes and natural environments to which we otherwise might be blind. The practice of painting is itself a natural process, and the result of that process is both a natural object and a representation of a natural object. By learning to appreciate painting along these lines, we also learn to appreciate natural environments along similar lines. (Contains 34 notes.)