From the aesthetic boundaries of “boundaries and impermanence”, the aesthetic forms of “neutralization and repositioning”, and the aesthetic thinking of “object and function”, the aesthetic similarities and differences between Chinese and Japanese traditional human space aesthetics at two levels, namely, the urban street scale and the palace garden scale, are described. Chinese traditional human space aesthetics embodies the aesthetic qualities of boundedness, neutrality, and dignity, presenting the spatial characteristics of obvious boundaries, orthodoxy, and order; Japanese traditional human space aesthetics embodies the aesthetic qualities of impermanence, repositioning, and indeterminacy, presenting the characteristics of no boundaries and impermanence, invisible multi-axis, and spontaneous order. Although Japan has been deeply influenced by Chinese aesthetics since ancient times, with China as the bone, after the Chinese spatial aesthetics system came into Japan, it was localized and derived from Chinese aesthetics and inherited and changed according to the characteristics of the local national mood. The process of “change” in Japan’s localized adaptation and transformation of China’s spatial aesthetics has reference significance for the modern landscape of China to inherit the aesthetic qualities of traditional Chinese human space.