莊書中的道氣說是人與萬物所以生成和變化的宇宙論論述。對應於道氣的體性、結構和功能，人生命所由構成的形神關係，有其宇宙生成論的理論結構脈絡。對莊子而官，形神之間若因貪執且陷溺於身外之物的追求，而呈現斷裂及異化的危機。對形神間既存的疏離異化事實，吾人當如何在人生實踐上自行消解危機，轉化昇華至形神相親，以神率形，與道冥合的真人或至人境界，是莊子的功夫論。本文以此理論基礎，試圖別開生面的探索莊子的道器論在藝術創作及審美上所蘊含的深意，凸出其“神與物遊”的美感精神狀態及其對人在藝術創造的藝術美之侷限處。
Zhuang Zi's doctrine of Tao and Qi is a cosmological discourse about the genesis and transformation of human beings and all creatures. In correspondence to the character, structure and function of Tao and Qi, the relationship between body and spirit, which constitutes human life, has its own theoretical and structural context of cosmogony. For Zhuang Zi, body and spirit would be on the brink of fragmentation and alienation as long as they were plunged into the pursuit of materials. Regarding the given alienation between body and spirit, Zhuang Zi's doctrine of cultivation claims that one must resolve the crisis in the practice of life, sublimate it into the state of mind of a true man or ultimate man: closeness between body and spirit, spirit leading body, and combing with Tao. Based on this theory, this paper is meant to explore the significance of Zhuang Zi' doctrine of Tao and Object in artistic creation and aesthetics, highlighting the aesthetic state of "spirit wandering with nature" along with the limitation it imposes on human beings in terms of artistic beauty.
