明初到明中叶的曲论多局限于曲词的品评 ,强调戏曲的抒情特质 ,曲论中许多审美概念 ,如“神意趣境”等随之从诗论中移植过来 ,初步出现境界论意识。明末万历、崇祯年间及清初 ,吕天成、祁彪佳等曲论家摆脱前期囿于诗歌意境的樊篱 ,把戏曲境界与戏曲所特有的规律结合起来 ,认为戏曲境界是戏曲典型形象情感世界的呈现 ,是在描述中渗透作家思想情感、构成意味隽永的故事情节。他们进而对戏曲境界不同风格型态、构成诸要素进行深入探讨 ,这标志着戏曲境界论进入成熟时期。李渔从演出的间离效果角度 ,审美把握戏曲境界独特的艺术特质 ;王国维曲论中的意境除言情写景之外 ,也约略兼顾了述事 :但二者都未能将它进行全面总结与光大 The music theory from the early Ming Dynasty to the mid-Ming Dynasty was mostly limited to the composing of the lyrics, which emphasized the lyricism of the drama. Many aesthetic concepts in the music theory, such as “God’s Interesting Circumstances”, were transplanted from the poem theory, . In the Ming Dynasty, Wanli, Chongzhen, Qing Dynasty, Lv Tiancheng, Qi Biaojia and other songwriters got rid of the preconceived horizons of poetry, combining the state of drama with the peculiar law of drama, The presentation is to infiltrate the author’s thoughts and emotions in the description to form a meaningful storyline. In turn, they discuss the different styles and forms of the opera realm in detail, which indicates that the opera realm has entered a mature period. Li Yu, from the point of view of the performance of the performances, aesthetes the unique artistic traits of the realm of the opera. The artistic conception of Wang Guowei’s musical compositions takes into account both the narration and the written description, but both fail to comprehensively summarize Everbright