明清戏曲理论家都以建筑作喻说明戏曲结构应如何布局,笔者列举并解析古今学者对中国建筑与戏曲二者的关系的探索,从这些理论中可知中国建筑结构与戏曲结构的美学特征有相通之处。陈建平认为明清戏曲创作结构论的三大美学追求是:整一美、中和美、意境美,笔者以中国最典型的古典建筑—故宫的美学特征来阐释明清传奇结构的这三大美学特征。 The operatic theorists in Ming and Qing dynasties illustrate the structure of the opera structure as a metaphor for architecture. The author enumerates and analyzes the ancient and modern scholars’ exploration of the relationship between Chinese architecture and opera. From these theories, we can see that the aesthetic characteristics of Chinese architectural structure and drama structure are Similarities. Chen Jian-ping believes that the three major aesthetic pursuits of the structure theory of drama in the Ming and Qing Dynasties are: beauty in a whole, beauty in the middle, and beauty in the artistic conception. The author illustrates the three aesthetical features of the legendary structure of Ming and Qing Dynasties from the aesthetic characteristics of the Forbidden City, the most typical classical architecture in China .