《莊子》對中國的藝術傳統影響深遠，尤其《莊子》之「道」常被視為中國藝術精神主體之最高呈現。而透過魏晉時代的玄學脈絡，《莊子》哲理又具體化為山水詩、山水畫的藝文世界。由於《莊子》與中國山水詩畫的親緣關係，研究者眾而共識者多，因此本文不擬重複東方文化已有的共識觀點，而打算改採跨文化的詮釋方式，將《莊子》置放在：身體現象學對當代繪畫的身體主體之解讀視域，尤其透過梅洛龐蒂對塞尚等當代繪畫的詮解來互文對話。本文嘗試透過《莊子》與《眼與心》的互文性對話，看看是否可以讓繪畫中的身體經驗之沉默存有，得到「技進於道」的揭露。

Zhuangzi significantly influences Chinese artistic tradition. “Tao” of Zhuangzi is usually treated as the ultimate presentation of subject of Chinese artistic spirit. By context of metaphysics in Wei Jin Dynasty, philosophy of Zhuangzi is specifically transformed into landscape poetry and landscape painting. Because of the relationship between Zhuangzi and Chinese landscape poetry and painting, and there are many researchers who have constructed common consensus, this paper does not repeat the common points of Eastern culture. By cross-cultural interpretation, this paper explores Zhuangzi below: interpretation of body phenomenology in body subject of modern painting, particularly by the comparison with interpretation of Merleau-Ponty on modern painting of painters such as Paul Cezanne. By dialogue between Zhuangzi and Eye and Mind, this paper attempts to expose “skill progress by Tao” through quiet body experience in painting.