Drawing on Merleau-Ponty’s theory of phenomenology of perception, this study aims to explore the artistry of Wen-Ya Kuei’s photographic prose. Chapter One deals with Merleau-Ponty’s perception theory and argues that the body is the carrier of the perceived subject and visual activities.Chapter Two refers to the writing experience of Wen-Ya Kuei. Every transition in her writing experience is involved with the development of a new literature genre. For example, her travelling photography literature has represented her aesthetic style formed since the 1990s. Kuei's photos from the early stage were taken as supplementary for explanations, complementaries, and for polishing the texts. It is not until later when she intended to draw children's attention to the world of reading that she built up a writing style of graphic prose.Chapter Three and Four discuss her sensation, perception, and experience of beauty. It is emphasized that through sensory perception, we can connect directly and instantly to beauty. With a humanistic touch, Kuei's photography reflects the lyrics, descriptions, and records of life and creative arts. She uses texts and graphics to express and perceive life incidents, putting her thoughts about the meaning of life into her works. Travelling is to find out the most sophisticated and deepest part of human beings, whereby people can transfer it into a beautiful mind of their own. Such sort of composition is not only a process of aesthetic matureness, but also a way to seek for the meaning of life and connect oneself to the whole universe.In her photographic prose, Kuei takes photography as the graphic, travelling as the dynamic, and children as the heart. She integrates the graphic, the dynamic, and the heart into children's prose. The integration of her photographic prose is rather crucial since she sees children's heart from their perspectives, developing a new sort of literature genre which takes children's prose to a different level.