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”.