Merleau-Ponty approaches Husserl’s phenomenology through Heidegger's fundamental ontology. One of the main issues Merleau-Ponty focuses on is related to the concept of ‘perception’ and its extensions. He interprets works of art, especially formally, in terms of showing the decisive role of perception in the human experience of truth. Again in this context, Merleau-Ponty calls on humans to reconsider their connection with the world they live in, the space they exist in, and other living beings they are in dialogue with. He thinks that sensory experiences are not given the value they deserve. He asks the question of when perception and sensory experience were subordinated in the history of thought. With this question, he makes a distinction that he calls the classical world and the modern world. What he wants to do with this distinction is to show how perception and sensory experience have been received over time. He shows that the classical world, which is based on reason, differs from the modern world, which is based on perception, especially through the analyses of Aristotle, Descartes, and Husserl. He shows how the modern world differs from the classical world, especially through the examination of art (painting). In this article, we will evaluate Merleau-Ponty’s analyses of the distinctions between the classical world and the modern world