《莊子》的技藝寓言，多言身心合一、物我協調的自然狀態，能與真人身體進行連結與補充。在眾多技藝角色中，列子是位喜好技藝的修行者，憑藉類似心齋的工夫，達到御風而行天下，遊乎天地一氣的境界。但《莊子》卻認為此技藝「猶有所待」，而依現行的技藝思想研究，無法說明御風技藝與真人技藝之別，及其中有待與無待之差異。本文認為，關鍵在物我協調的基礎上，將技藝思想拓展出流通與跨界維度。藉梅洛─龐蒂的三層形式行為結構，正可說明行為與環境間依存、轉換關係。若再對照《莊子》中的列子形象，可釐清一般技藝與真人技藝的區別，及有待、無待於兩者間地位。御風技藝非有待風之特定媒介物，而是列子將風限定於「御風而行」的行為關係上（拙於用風），失去與風互動的其他可能。

The allegory of skill in Zhuangzi has often been considered in relation with the body and the mind, the external world and the self. Scholars tend to view Zhuangzi in this perspective and regard the Daoist sage as a perfect embodiment of spontaneity. Among the characters portrayed in Zhuangzi, Liezi is one that be infatuated with extraordinary level of skill. With practices similar to fasting the mind (xinzhai), he could ride the wind and go soar around the world. He has seemingly united the virtues of Heaven and Earth, but Zhuangzi declares that Liezi “still had to depend on something.” The current scholarship could not delineate the difference between the skill by Liezi and the skill of the Daoist sage, and thus failed to point out the difference between dependence (dai) and independence (wudai). Based on the unity of the external world and the self, this article contends that the interpretation of Zhuangzi’s allegory of skill can be expanded to enhance its applicability. Maurice Merleau-Ponty’s structure of behavior in three forms helps to understand the relation among one’s actions, surrounding environment and transformation. When the image of Liezi is viewed under this philosophical framework, we can explicate the difference between the skill of an ordinary man and that of the Daoist sage, and the quality of dependence and independence. Riding the wind by Liezi could be extended to other medium beyond wind. If he confines the use of wind to a predetermined behavior, other possibilities to interact with wind are thus lost.