作品臻于自然天成的妙境，是由晚唐诗人司空图提出的诗学批评术语。这一观念源于道家崇尚自然的美学观，堪称中国文艺理论的精髓。司空图以“妙造自然”作为审美理想与追求，并将“自然”列为诗歌的二十四种风格之一。“妙造自然”既是诗人所创造的一种自然美的境界，也是诗人在诗歌创作中对自然美的自觉追求。“妙造”二字，与西方美学传统的“摹仿”理论形成了鲜明对比，强调了艺术家与自然万物生命既有同一性又有超越自然万物生命的主体创造精神。
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：
◎夫画道之中，水墨最为上。肇自然之性，成造化之功。（王维《画学秘诀》）
在绘画技法中，水墨山水最为上乘。它始于自然的本性，展现天地万物创生变化之功。
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，物我两忘，离形去智。（张彦远《历代名画记》卷二）
凝聚心神，自由畅想，对自然之美的体悟达到绝妙境地，忘记了外在世界，也忘记了自身，脱离形体的束缚，抛开知识的局限。
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)
推荐：教育部 国家语委
供稿：北京外国语大学 外语教学与研究出版社
责任编辑：钱耐安
