本文談論太極拳拳架規法，由身體結構的建立，進入感覺的掌握，逐步建置身似弓正的弓身，創造出有感覺結構的太極拳。本文的詮釋方法，主要採用高達美(Hans-Georg Gadamer)的辨證詮釋學的觀點，依經驗、提問、理解、揭示等途徑逼近本文的論題，藉以充分掌握修煉太極拳的完整視域，並結合「創造性詮釋」的閱讀立場，引用《莊子》〈人間世〉與〈大宗師〉中，孔子與顏回的對話，由端虛勉一、內直外曲、成而上比、心齋、坐忘的學習步驟，經由創造性閱讀的延伸，從《莊子》的功夫境界論出發，由實踐的體驗和思辯，與太極拳的存有意義深度相遇，另一方面經由創造性閱讀的回歸，將《莊子》的功夫的核心哲思，落實在太極拳拳架規法修煉上。經過創造性閱讀的延伸與回歸，使得作為道德修煉的心性論，與身體具體而完整的修煉，形成既還原，又開放，既連續，又清晰的互詮關係。

This paper attempts to explore some basic guidelines to the structure of Tai-chi chuan as a combination of the corporeal and moral structure of bow-like rectitude (Kung Cheng). To this purpose, a correct and straight structure of the body should be formed in order to achieve a correct and straight structure of feeling. Through the process of experiencing, problematizing, understanding, and disclosing, this paper employs the dialectical hermeneutics of Hans-Georg Gadamer to examine the whole horizon of practicing Tai-chi. Through the method of creative interpretation, it will analyze the key learning steps found in the dialogues between Confucius and Yen-Hui in the chapters "The Human World" and "The Great Master" in Chuangtsu: striving for oneness through rectitude and emptiness, inner rectitude and outer pliancy, achieving while imitating upwards, mind fasting, and void sedation. This creative interpretation will on the one hand combine with the Kung Fu theory of Chuangtsu to explore the ontological in-depth meaning of Tai-chi through both embodied practices and abstract dialectical thinking. On the other hand, through the constant return of the creative interpretation, the core ideas of Chuangtsu's Kung Fu theory will be actualized in the bodily structure of practicing Tai-chi chuan. Through this to-and-fro flux of creative interpretation, a successful entwinement of mental cultivation and bodily cultivation will be achieved as both convergent and divergent, continuous and differential.