Since the Italian Renaissance there is sort of a "dispositive of vision" dominating the European access to the world, and leading the entire modern thought, as well as artistic ways of having the world. By taking advantage of the differing Chinese tradition of ink wash painting, when investigating into the Heideggerian discussion of worldliness, as well as his discourse on art, technique, and the Weltbild, the blind spots and deficiencies of the dispositive of vision can be clarified. By means of this transcultural philosophical approach, based on the potentials of "cultural translation" encompassed by contemporary Chinese speaking thought, this paper shows that there is another way of accessing the world, i.e. "dwelling", underpinning the dispositive of vision. Thus a somewhat paradoxical feature immanent to Heidegger’s philosophy is brought alight, by discussing the tension there is between an objectifying "representing the world" and a "being with the world". At last this paper tries to explore the later Heidegger's thought about movement and Gelassenheit, which may be understood as a means of overcoming the dispositive of vision, as to get back into a "dwelling in the world".