Forest Aesthetics (Forst Ästhetik in German) was first published in 1885 by Jkr. h. von Salisch in Postel, western Poland (formerly germany) (Koike, 2021: 30–35). The philosophical and technical book was revised up to the third edition in 1910, incorporating the idea of landscape architecture as well as forest stand management based on the practices of his own property. The prefix Jkr. H. von Salisch (hereafter Salisch) was used for those belonging to the Prussian aristocracy especially with military contribution. the concept of Forest aesthetics was introduced to Japanese imperial universities of tokyo, hokkaido, and Kyoto in/around the early 1900s; however today, only Hokkaido University continues to give a lecture on “Forest Aesthetics”. Consequently, the concept Forest Aesthetics is not commonly appreciated despite of its essential significance for forest management (Salisch, 1902 through Coor Jr. and Wehlau, 2008; Shimizu, 2006; Koike, 2021) but also providing something new for the forest visitors with civilization (Gwiazdowicz and Wiśniewski, 2011: 425–428). At least, Shinshu university in the central part of Japan is the sole institution that practices the concept of reforestation of hinoki cypress (Chamaecyparis obtusa; e.g., Shimizu, 2006; Shimizu et al., 2006), and it is also associated with aesthetics, so it is dragged by the word, “aesthetics”.Terada (2022) belongs to forestry company at Nara Prefecture near Kyoto (both were old capital, Japan) has recently presented an interest renewed from forest aesthetics, and here in this mini-review, we tried to organize the thoughts of forest aesthetics, and to present the scope of application and forest creation. to this goal, 1) we propose the contemporary significance on forest aesthetics; 2) we review the perception of Forest aesthetics from the management of forests and landscapes inspired by gardening. emphasis was made on the scenery from the characteristics of light quality.