本文藉由《莊子》對各種技藝行為的敘述，探討工夫論除了以虛靜、逍遙無待作為主體超越的境界形容之外，是否具有向他者開展的外王實踐可能性。第一部分分析文本「合」、「中」、「同」字的含義，探討在高超的技藝行為下，主客二元對立層面的肢體消融，揭示出場所性質而具有整全意義的「天」。第二部分則透過「目擊而道存」，指出這種「不可見」但「在場」的天，還能再轉化成「可見」而「在場」。觀賞者被「轉化」的關鍵，正巧不是技藝施行者施技於技藝對象，如庖丁施於牛體、津人施於水、輪扁施於輪等，因為熟練高超的技巧來和對象化一。反而是拉開一段「之間」，觀賞者首先遭受某種感官衝擊而後虛化，再藉由兩造的虛待，而浸潤於「之間」的流動現象。筆者認為，莊子對於自我與他者可否相互理解是持肯定態度的，只是理解他者不是技藝行為中的人物關係：「恢恢乎其於遊刃必有餘地」般地將對象貫通，自我與他者的相互理解不如說是拉開一個能讓氣感互通的的距離，而這距離植基在兩端「之間」，如此雙方才能共體「出遊從容」之樂。

This paper, referencing various sections relevant to artistry in Zhuangzi, explored and discussed whether the practice contingency of externally becoming a king oriented towards the other exists in the theory of self-cultivation in addition to its taking emptiness and quietness, and unconditioned freedom of spirit as the domain of subjective transcendence. In the first part of this paper, the meanings of ＂unity,＂ ＂center,＂ and ＂identity＂ in the text were analyzed, investigating physical ablation at the level of subject-object binary opposition in superb artistry to reveal the concept of ＂Tian＂, which partakes of the nature of field and with wholeness of meaning. In the second part, referencing ＂seeing the existence of the Dao with one's eyes＂, this paper pointed out this ＂invisible＂ yet ＂present＂ ＂Tian＂ may also be transformed into a ＂visible＂ and ＂present＂ form. The key for a viewer to be ＂transformed＂ lies exactly not in the act of artisans to apply their artistry to their material, such as butchers' application of butchery to an ox, rowers' usage of oar on water, and the wheelwright Bian's practice of wheelwrighting to a wheel. Instead, because of the proficient and superb artistry that are used to merge with the material, the distance ＂between＂ artisans and their material is widened. A viewer suffers from some sort of sensory impact in the beginning, which is followed by becoming abstract, and through the two parties' abstraction of themselves to wait for the other, the viewer is immersed in the flow state of ＂betweenness＂. The author advanced that Zhuangzi is positive in his attitude regarding the mutual understanding between the self and the other, and his understanding of the other is not merely based on the human-object relationship in artistry that thoroughly connects with material in a way similar to the mechanism of ＂a vast and open empty space which has more than enough room for the blade of a sword＂. The mutual understanding between the self and the other may be regarded instead as a distance that is widened to enable the mutual communication between chi and sensation. This distance is rooted in the ＂betweenness＂ of the two ends, for only thus can the two experience the happiness of ＂swimming about freely＂ together.