本文嘗試探討《莊子》「即物而道」的物化美學，然為徹底講明《莊子》遊物、賞物的存有論美學，筆者認為有必要深入三個向度來加以揭露：自然、氣化、身體。筆者發現，從自然、氣化、身體的三合一角度，可以讓《莊子》的美學之道得到十字打開。由於筆者曾透過《莊子》自身文獻，已各別處理過上述三個子題，而本文則嘗試將三者融合而論，並將《莊子》放在當代跨文化的美學視域，利用當代的美學新資源，如本雅明的氣韻美學、伯梅的氣氛美學等等，嘗試《莊子》為古典新義之再生產鋪橋造路。

This paper investigates object aesthetics of Zhuangzi’s “Tao by objects. However, in order to profoundly explain the aesthetics of existence theory of Zhuangzi’s object play and appreciation, the author suggests that it is necessary to disclose them by three dimensions: Nature, Qi and Body. The author realizes that the aesthetics of Zhuangzi can be explained by Nature, Qi and Body. The author has studied the previous three dimensions through the literature of Zhuangzi. In this study, the author will combine the three and include Zhuangzi in a contemporary cross-cultural situation. By employing new aesthetic resources, such as the Aura aesthetics of Benjamin and the atmosphere aesthetics of Bohme, the author reproduces transcultural thoughts with Zhuangzi to create new classical meanings of Zhuangzi.

莊子;自然;氣;身體;美學;原初倫理

Zhuangzi; Nature; Qi; Body; aesthetics; originative ethics