自文藝復興時期以降有一種「觀看部署」在支配歐洲人通往世界的管道，領導一整個近、現代的思想和藝術「擁有世界」的模式。中國古代山水畫傳承於此觀看部署有別，若以此差異來思考海德格所探究的世界性問題，並將其對藝術、技術及「世界圖型」的論述納入考量，則可以看透歐洲的觀看部署所隱藏的盲點和缺點。藉此跨文化哲學進路，本文立足於當代華語思維的轉譯局勢，進而凸顯出另類通往世界的途徑，闡明奠建觀看部署的「棲居」作為另一種世界關聯，在海德格哲學的內部也揭露一種悖論情形，討論將世界對象化的「產生觀念」和「依寓世界而存在」之間的緊張關係。最終試圖就海德格後期著作中的「運動」、「任讓狀態」等環節，初步探索自觀看部署過渡至「棲居於世界」的理路。

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”.