Through examining Li Zehou’s subjective practical philosophy towards aesthetics, Ye Weilian’s theory of “reticence independence”, Xu Fuguan’s theory of “artistic spirit” and so forth, on the ideological resources of their aesthetic interpretation of Zhuangzi, and by placing it in the perspective of contemporary transcultural studies of Zhuangzi in Taiwan, to break away from the originally enclosed and static imagination of subjective aesthetics of Zhuangzi. From three perspectives: game movement of language, aesthetic work of body, and aesthetic salvation of nature, to explore further into the aesthetic implication and practical features of “paradoxical subject” in Zhuangzi, and with the belief that it involves the self-transformation of the subject and its close interaction with nature, language, and others, which is inseparable from the practical activities of the interaction between nature and humanism and equal dialectics. In this regard, the practical aesthetics in Zhuangzi is endowed with modern salvation interpretation that “aesthetics is criticism”. In the process of resetting the post-design context, this paper intends to open a richer perspective for Zhuangzi’s aesthetics.