太極拳「靜中觸動，動猶靜」的運動操作模式，有別於西方「動／靜」、「主動／被動」的二元對立架構。本研究希望透過德國哲學家施密茨(Hermann Schmitz) 的身體現象學，重新思考並論述一種屬於太極拳修煉的運動模式，涉及氣能運作的身體感受和活動，以重拾太極拳作為生活技藝的時代使命。本文以施密茨身體現象學和中國氣論、太極拳進行論述對話，企圖展現太極拳「氣能美學」的身體操作，開展「質性身體空間」在寬廣與狹窄、放鬆與緊張之間的節奏變化，給出整體身體感覺的「氣動」與「受動」。太極拳的「氣能美學」，其任務乃在回復身體原初的精微敏感度與覺知力，能有效抵禦當代美學經濟的操控。

Tai-chi Chuan's movement guideline of ＂Keeping quiescence in motion and motion in quiescence＂ stands in contrast to the binary structure of ＂movement vs. inertia＂ and ＂activity vs. passivity＂ in Western thinking. This study attempts to re-conceptualize a motion mode belonging to the practice of Tai-chi Chuan in light of German philosopher Hermann Schmitz's Body Phenomenology, a mode that involves the affectivity and activity of the body under the operation of atmosphere in an attempt to regain Tai-chi Chuan's time mission as life techniques. This paper initiates a dialogue among Schmitz's Body Phenomenology, Chinese Chi philosophy and Tai-chi Chuan and demonstrate how Schmitz's notion of ＂aesthetics of atmosphere＂ can be merged with and carried out in the bodily movement of Tai-chi Chuan. A ＂qualitative body space＂ is foregrounded with a rhythmic variation between wideness and narrowness, relaxation and contraction and the whole body will be merged in the sensibility of ＂chi-vibration＂ and ＂affected passivity.＂ This embodied ＂aesthetics of atmosphere＂ of Tai-chi Chuan thus help to recover the primal sensibility and self-sensing of the body and resist effectively the domination and exploitation of contemporary aesthetic economy.