《莊子》對於「身體」的理解，筆者認為，其乃是對於「人」的理解，就《莊子》之語言而言，「形」在涉及身體意義之概念中具有相當獨特的地位。有鑑於「形」在《莊子》中的豐富性，本文對於此概念的諸種可能面向無法全數處理，僅擇取〈大宗師〉作為主要解讀依據，佐以相關篇章以輔成清晰之效。基於此，本文的主要工作是就《莊子》文本中的「形」概念進行梳理詮釋，首先分析「形」在存有學、歷程性與變化場域三個面向的可能意義，歸結於「使形—形」的基本模組結構。並進一步使其回饋於〈大宗師〉文本中的「犯人之形」之指謂，開發方法義的「離形」觀，嘗試透過此一途徑，將「人」可能被說明的意蘊就「形」為主要介面，構作從「形」中理解顯明自身的「人」之意義指向。

In the writer’s mind, the understanding about “body” in Zhuang Ze is equal to the understanding about “man.” In the language of Zhuang Ze, “form” is quite unique when it’s concerned with the body. With the abundant meanings of “body” in Zhuang Ze, it’s impossible to deal with every possible aspect of this concept, so our interpretation here is mainly based on “Grand Master,” supplemented with some related chapters to make it clearer. Accordingly, this article mainly returns to the idea of “form” in Zhuang Ze, analyzing the possible meanings of “form” in the lights of ontology, progression and the field of transformation, which are reduced to the fundamental modular structure of “form making.” Furthermore, here we return “form” back to the text of “Grand Master,” tap into the methodological view about “primitive form” through the “external form of man” and the “molded form of man,” and attempt to approach how “man” is conceived in the light of “form”.