As an indispensable part of the history of Chinese painting, Chan painting art, under the influence of Chinese indigenous religious Chan Buddhism, has experienced development and innovation different from other art forms. Chinese scholars have attempted to define and analyze the concept of Chan painting from various perspectives since the 1980s and 1990s, with the analysis mainly focused on the painter’s creative state of mind and creative practices such as painting techniques, forms, and content. However, the aspect involving the viewer’s aesthetic experience has been neglected and not considered within the scope of the Chan painting concept definition. From past writings on Chan painting studies, it can be seen that Chan Buddhism has always demanded that painting be able to bear the function of presenting and conveying the “true appearance” of sentient beings, allowing viewers to truly “realize Chan through painting”, thus guiding learners to comprehend Chan principles and gain momentary insights into the meaning of life. The importance of aesthetic experience in Chan painting appreciation is evident from this. Therefore, the attainment of a viewer’s “intuitive realization”-like aesthetic experience should be included in the definition of Chan painting concept, along with the painter’s creative state of mind, painting techniques, forms, and content.