“自然”是中国古代文论里的重要范畴,也是自古以来文学创作家和理论家所提倡的至高境界。明清时期中国戏曲理论著作颇丰,同样,戏曲理论批评家也主张“自然”。但是由于社会政治思想环境的变化以及曲论家的个性差异,人们对于“自然”的理解也大相径庭。本文试从明清时期戏曲理论家对“自然”的不同主张,来探索“自然”观在戏曲批评领域蕴含的深刻内涵。 Nature is an important category in ancient Chinese literary theory and the supreme realm advocated by literary writers and theorists since ancient times. In the Ming and Qing Dynasties, Chinese opera theory works quite well. Similarly, opera theory critics also advocate “natural”. However, people’s understanding of “nature ” is also very different due to the changes in the social and ideological and political environment and the individual differences of the musicians. This article attempts to explore the profound connotation of “natural” view in the field of opera criticism from the different opinions of the theatrical theorists on “natural” in the Ming and Qing Dynasties.