It is assumed that the cavalier perspective expressed in Chinese visual arts contrasts with the linear perspective of Western visual arts. The writer believes that such a visual expression is not merely a question if creative skills but also a consequence of Chinese and Western arts at the cultural level, which is what the writer calls ”Weltanschauung.” Therefore this paper begins with the comparisons of Weltanschauungs, through which we try to explore the views that have made effects on Chinese and Western visual arts and demonstrate how Weltanschauung is the theoretical foundation of the perspective and the operation of the latter is the application of the former.