This paper is concerned with representation and the aesthetical phenomenon of ”blandness” in Chinese Painting, in order to evince a crucial relation between aesthetics and ethics. It is shown how aesthetical experience may eventually turn into some kind of living practice. Drawing some inspiration from Heidegger's discourse on the art work, yet referring to Chinese painting and contemporary media theory, this paper discusses the following question: How can art disclose a concrete life environment and thus, by means of aesthetical practice, give access to the real world? When combining phenomenology of the body with the stance of aesthetics of reception, evidence can be found in ancient Chinese treatises on painting for the following issue: Centered on the bodily self, painting initiates sort of an aesthetical transformation with existential implications. The painted landscape yields the spectator his or her original life situation, thus delivering him or her to the real life world, through intuition of the picture. Crucial for provoking this effect are peculiar ways in which the painting has been executed, the pictorial character of ”faint and hidden” being of primary importance. This paper not only rejects classical theories of representation as invalid for Chinese painting, yet also gives a critique of the inverse notion of ”de-representation”, by ways of a discussion of the pictorial structure and the process of intuition. Thus the phenomenological assumption that the spectator somehow ”immerges” in the picture, forgetting about his real existence and environment, is critically revised in this investigation. Instead the main point it is argued for is that the painting leads the spectator back into his or her original ”being-in-the-world”, emphasizing his or her authenticity in existence.