This article examines and analyses the Chinese painting, using the heritage of the “Haishang School” as an example. Reflections on these matters are taking place in the key of the influence of different philosophical directions (Confucianism, Taoism, Buddhism) as the value orientations of the artistic texts of the Chinese culture. It proves that the ideas of Confucianism, Taoism, and Zen Buddhism together influenced the formation of national Chinese spirituality, including Chinese painting. This resulted in the formation of the specific features of the Chinese painting “the unity of heaven and man”, “the unity of nature and man”. Chinese painting is pierced by cultural anthropological attitudes, characterising not only personal destiny, but also the connection of fate with the cosmos, which makes it possible for Chinese painting to be an eastern feature, “to surpass the surface of the depicted object”, “to convey the deep thoughts and mood of artists through their paintings”. The aesthetic views of the Chinese people were formed under the influence of Chinese philosophy and as a consequence of the development of painting. Therefore, the study of Chinese painting cannot escape the fact that philosophy has a profound impact on the Chinese culture and art, especially in the context of the concepts of such three known trends as Confucianism, Taoism and Zen Buddhism.