在對照傳統中國藝術思想和西方美學理念時，「間」的思維和崇高之間的對比似乎是在快速的關照下所能發現最大的張力所在之處。本文計畫首先透過余蓮對於中國傳統畫論的解說來分「間」的思維如何涉入的一個通貫的意念網絡。接著本文將參照李歐塔對於康德崇高分析的重新詮釋設法更加深入兩者的理解：質問在崇高分析中的「間」思維模式及「間」思維中的近似崇高感，因
為兩者最終面對的是「不可呈現」。在文章的最後的一段落，我們並且透過李歐塔對康德歷史符號的詮釋，探尋出一個和間思維非常接近的「通道」概念。

In confronting the traditional Chinese art thought and the ideas in
western aesthetics, the contrast between the In-between（間） and the Sublime seems where in a quick glance lies most strong tension. This paper projects to follow, in the first moment, the analysis of a coherent In-between notions network through the reading of François Jullien of the Chinese traditional discourse on painting. In the second moment, it will turn to Jean- François Lyotard’s discussion of the sublime, for eventually, trying to find a more profound understanding of each way of thinking art and the world by asking if there is any In-between pattern in the analysis of sublime and a quasi-sublime feeling in the In-between as both come to term with the un-presentable. In the end of this article, through the exploration of Lyotard’s interpretation of the Kant’s notion of the Sign of History, we find a concept of the “passage”, very
close to the thought of the “In-between”.