This dissertation primarily examines the decorative object in the Ming and Qing dynasties in terms of its aesthetics, appreciation, and taste, and then explores its surrounding linkage, including the facets of corporeality, cultural and mundane views, material culture, the interaction between objects and people. The main problematic of this project is that in the long history of the relationship between objects and humans, objects have evolved from “utility” to “multi-utility” through “inutility,” from “pragmatism” to “commodity” through “aestheticism.” The attitude of the various social strata to the objects from the Ming to Qing dynasties have been mixed with praise and criticism, showing a variety of features. Focusing on the decorative objects, the author elucidates this thread of discussion from an aesthetic perspective and takes this as an example and reflection of the dualistic thinking of “humans as the subject, and things as object.” Based on this context, this dissertation attempts to examine and analyze the Ming and Qing research on the decorative object from an aesthetic perspective by taking the contemporary body-mind-object approaches, such as the field, body, body sense, atmosphere and situation, and in-between. “Field” is a concept of social distinction proposed by Pierre Bourdieu (1930-2002), concerning the struggle among power, class and identity. It helps elucidate how the cultivation of habitus serves a key condition from a novice to an expert. In addition, another concept of “field,” which contains the abundant sky, earth, god and humans—which flows between each other, corresponding each other, revealing each other, and coexisting with each other. The two dynamic concepts of “field” reflect the interaction between objects and humans, heaven and earth, and historical changes, and then draw a subtle yet concrete cultural outline for the “toy” in the Ming and Qing dynasties. Second, the concept of “body” runs throughout the School of Chi and the School of Mind in Ming and Qing dynasties. Meanwhile, it serves as the main medium linking humans to objects. As production, usage or object authentication is concerned, it is associated with the overall operation of the “corporeality,” and offers evidence for body awareness and life transformation. Employing the core perspective mentioned above, this dissertation significantly widens and deepens the literature about the decorative object. As for the concepts such as the “body awareness aesthetics” of the “atmosphere and situation,” encompassing body, mind, and object. This seems to suggest the trend of the thoughts of Neo-Confucianism, School of Mind, and School of Chi since the Ming and Qing dynasties: in addition to settling down the physical and mental life, it plays a role that can hardly be ignored in the linkage between objects and body. Moreover, the concept of the “body-subject” raised by Merleau-Ponty (1908-1961) in the phenomenology of body is a body-self touched and evoked by objects to have the interaction of affect, triggering, response, feeling, and atmosphere. This offers a new aesthetic perspective for appreciating Ming and Qing objects. Due to the concerns mentioned above, the new approach of this dissertation particularly revolves around the “in-between” direction of the “aesthetics of decorative objects,” partially revealing the four facets: field, appreciation, artifact object making and communication. This dissertation attempts to construct an aesthetic system of the decorative object in the Ming and Qing dynasties, and also makes a contribution to the dialogue between the contemporary criticism.