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As an aesthetic resource in ancient China, the Zhuangzi’s description of Dao is similar to the American philosopher Emerson’s experience of beauty, and both reveal that the essence of beauty lies in its inherent vitality, spiritual transcendence, and the unity of multidimensional connotations. Emerson defines beauty as the constitution of all things in the world and believes it to be an expression of the universe. The Zhuangzi proposes the thought of tiandi damei 天地大美 (lit. Great Beauty of heaven and earth) as a manifestation of the function of the wordless Dao. Nature, intact from any human interference, becomes the common intermediary for Emerson and the Zhuangzi to elaborate on the connotations of beauty. The Emersonian definition of beauty originates from the philosophical implication of the world in ancient Greek, whereas the meaning of Great Beauty in the Zhuangzi, which embodies the worship of heaven in primitive religion, is very close to Emerson’s definition of beauty. The pattern of mei 美 consisting of da 大 (lit. great, equivalent to Dao) and yang 羊 (lit. auspice) signifies the natural celestial phenomena predicting good or bad luck and can be seen as synonymous with Dao illuminated by Daoism. By describing such natural imagery as forest, time sequence, dawn, and wilderness, Emerson reveals the vastness, harmony, brightness, and tranquility of beauty, which not only delights the spirit but also brings the human soul back to its natural state and improves personality. Emerson’s illumination of beauty conforms to those of Dao unraveled by the Zhuangzi. Despite the difference between the former’s poetic linguistic feature and the latter’s application of allegorical fables, both resort to visualized language to express internal aesthetic perceptions of the physical nature. Using the approaches of word tracing, textual comparison, and logical analysis, this article identifies the consistency in the original meanings of beauty in both Emerson’s essays and the Zhuangzi first and then goes on to analyze the similarities between their descriptions of natural imagery, so as to hint at the commonality in their understanding of natural beauty and verify the significance of literary language in cross-cultural comparative research.