本文將從普世性的冥契主義（mysticism）潮流來考察道家的體道經驗，認為從老子、莊子的體道描述中，可以找出強而有力的文獻符應冥契主義的共同核心特徵，而體道經驗同時帶有即美學即宗教的終極意義。因此本文嘗試將道家的形上體驗放入古老又普遍的冥契意識來考察，一方面可將道家歸為冥契經驗的一種東方案例，另一方面溝通了道家的美學藝術體驗和冥契宗教體驗，使兩者通而為一。最後筆者在和史泰司（W. T. Stace）的內向、外向兩種冥契類型判別的對話下，將道家定位為統合內、外的圓教型之自然主義冥契類型，它統合了一體無分與自然萬象，並從沉默無言走向了充滿悖論的詩性隱喻，這種一多相即的物化美學，同時延伸出諸多莊嚴神聖的冥契感受，尤其從萬物一體的合一感中，可興發出超越善惡、包容柔軟的玄德，換言之，從冥契意識來詮釋道家，又可能開展出道家式的冥契倫理學。

This paper evaluates the experiences of the Dao from a popular mystical trend, and suggests that from the descriptions of Dao experiences in Laozi and Zhuangzi, it is possible to find powerful literature that corresponded to the core features of mysticism. At the same time, the experiences of the Dao have the ultimate meaning of art as a religion. Thus, this paper attempts to explore the metaphysical experiences in Daoism into the ancient and prevalent mystical consciousness. On one hand, Daoism can be classified as an Eastern case of mystical experiences while on the other hand, it communicates the Daoist aesthetic and artistic experiences and the mystical religious experiences, combining the two into one. Finally, the author engaged in a dialog with two types of mystic, the internal and external, by W. T. Stace, to define Daoism as a naturalist type of mysticism that integrates the internal and external, which integrates oneness and natural phenomena, and proceeds from silence toward poetic metaphors that are full of paradoxes. This kind of objectified aesthetic covering one and all also extends to various mystical experiences that are solemn and sacred. From a sense of oneness from all things, it can elicit a kind of mystical virtue that transcends good and evil, and accommodates all things. In other words, an interpretation of Daoism from mystical consciousness may also open a mystical ethics for Daoism.