本文試圖論證：並非所有的視覺都是建立在理性化、空洞、充滿不信任的敵意與人我對立的負面知覺經驗上。我首先藉由笛卡爾哲學表明：視覺的理性化反而弔詭的建立在理性對肉眼視覺的不信任上。因此，如果我們能對視覺建立起某種信任關係，便可以開啟另一種視覺觀的可能性。所以，我接著引用梅洛龐蒂（ Maurice Merleau-Ponty ）的視覺概念，闡明這種可以建立在溫和、人我消融、豐富彼此意義的正面視覺經驗。最後，我想透過張藝謀早期電影《菊豆》裡的一個著名場景，進一步說明：這種可溝通、可逆轉的視覺感知，不同於伊希嘉黑或蘿拉莫薇把男性 ／ 女性、觀看 ／ 被觀看、主動 ／ 被動對立開來的主張，我認為，一個「被觀看的女人」可以具有主動的視覺感知，而不必然完全等同於一個空洞而被動的對象。

In this article, I argue that not all kinds of vision are built upon negative experiences of perception, like the experiences of emptiness, hostility and antagonism towards others. Firstly, I elucidate Descartes' concept of vision and contend that the rationalization of vision is paradoxically based on distrusting the experiences of vision. Therefore, if we may trust the experiences of vision, we have another kind of concept of vision, that is, positive experiences of perception, like the experiences of gentleness, significance and being saturated with each other. Secondly, I introduce the concept of vision of Maurice Merleau-Ponty to interpret the second kind of vision. Finally, differing from Luce Irigaray and Laura Mulvey's conclusion──they make contrasts between male and female, seeing and seen, active and passive, I use the second kind of vision to explain a celebrated scene in Zhang Yimou's movie── Ju Dou , and conclude that a ‘seen woman' is not equal to an ‘empty and passive object.