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作品臻于自然天成的妙境，是由晚唐詩(shī)人司空?qǐng)D提出的詩(shī)學(xué)批評(píng)術(shù)語(yǔ)。這一觀念源于道家崇尚自然的美學(xué)觀，堪稱中國(guó)文藝?yán)碚摰木?。司空?qǐng)D以“妙造自然”作為審美理想與追求，并將“自然”列為詩(shī)歌的二十四種風(fēng)格之一?！懊钤熳匀弧奔仁窃?shī)人所創(chuàng)造的一種自然美的境界，也是詩(shī)人在詩(shī)歌創(chuàng)作中對(duì)自然美的自覺(jué)追求?！懊钤臁倍?，與西方美學(xué)傳統(tǒng)的“摹仿”理論形成了鮮明對(duì)比，強(qiáng)調(diào)了藝術(shù)家與自然萬(wàn)物生命既有同一性又有超越自然萬(wàn)物生命的主體創(chuàng)造精神。
This term describes a poetic work which has attained the sublime state of natural appeal. First put forward by late-Tang poet Sikong Tu as a term of poetry discourse, it originates from the nature-revering aesthetic of Daoism and embodies a fundamental tenet of the theory of Chinese art. Sikong Tu championed the aesthetic principle of perfect naturalness and listed it as one of the twenty-four styles of poetry. Perfect naturalness is an ideal natural state of beauty created by poets, and also a conscious exertion sought by them in poetic composition. This notion stands in contrast to the imitation theory in Western aesthetic tradition. It seeks to achieve oneness between the poet and all lives in the universe, and at the same time maintains the individual creativity above all other lives.
引例 Citations：
◎夫畫(huà)道之中，水墨最為上。肇自然之性，成造化之功。（王維《畫(huà)學(xué)秘訣》）
在繪畫(huà)技法中，水墨山水最為上乘。它始于自然的本性，展現(xiàn)天地萬(wàn)物創(chuàng)生變化之功。
Of all painting techniques, ink landscape is of the highest order. It portrays the features of nature and describes the life and change of all things in the world. (Wang Wei: Gists of Painting)
◎凝神遐想，妙悟自然，物我兩忘，離形去智。（張彥遠(yuǎn)《歷代名畫(huà)記》卷二）
凝聚心神，自由暢想，對(duì)自然之美的體悟達(dá)到絕妙境地，忘記了外在世界，也忘記了自身，脫離形體的束縛，拋開(kāi)知識(shí)的局限。
By keeping his mind focused and giving free rein to his thoughts, the artist can reach such a fascinating state in appreciating the beauty of nature as to become oblivious to the external world and his own self, free from the fetters of physical forms and limitations of knowledge. (Zhang Yanyuan: Famous Paintings Through History)
推薦：教育部 國(guó)家語(yǔ)委
供稿：北京外國(guó)語(yǔ)大學(xué) 外語(yǔ)教學(xué)與研究出版社
責(zé)任編輯：錢(qián)耐安
