Problem statement: The research areas of environmental aesthetics require theoretical rules and principles to introduce a fundamental background to an empirical, cognitive, and emotional perception of infusion of aesthetics into the environment through human experience. Therefore, given the gap in the theoretical foundations regarding the nature of environmental aesthetics experience and its perception and formation process, this study aims to find a different perspective to seek and introduce new paths in order to identify the problem more accurately in other areas (which have thoroughly addressed the problem). Hence, two questions may arise. How is the process of forming and perceiving aesthetics experience in the theoretical areas of the psychology of art? In this regard, what theories are more practical in environmental aesthetics?
Research objective: The study aims to review the prominent models of aesthetics experience perception in the psychology of art  by Identifying the  basic structures of  the theories, can make benefits from their capabilities to lay the foundation for discussion about the theoretical concepts in environmental sciences.
Research Method: This is a qualitative study that seeks to analytically identify different perceptual models of aesthetics experience in the psychology of art. After the prominent perceptual models were analyzed, six models were selected. Their contents were analyzed to identify the relationships between their variables. Finally, two main models were introduced presented. Based on the concepts of environmental aesthetics and the potential of the two designated models, it was recommended to converge their paths to provide a theoretical context for multiple research methods of environmental aesthetics.
Conclusion: Leder’s theory and Silvia’s theory introduce an integrated network of perceptual, cognitive, and emotional processes to compete with each other. They also propose a flexible modeling mechanism for a wide range of variables regarding the priorities of aesthetics experience. As a result, new hypotheses can be developed for environmental aesthetics.