在明代曲论中,“本色”、“当行”是用来品评戏曲艺术的重要理论内涵。品评戏曲语言时,曲论家们不约而同地将“本色”、“当行”划入同一范畴,强调了二者相通的一面,但是在语言之外的其它方面,“本色”与“当行”则显示出了分道扬镳的趋势。对于戏曲内容、人物塑造、戏曲结构等案头创作,曲论家们多以“本色”品评,而“当行”则主要论及音律、表演、排场等与艺术实践相关的问题。 In the music theory of the Ming Dynasty, “character ”, “when the line ” is an important theoretical connotation used to tasting drama art. When commenting on the drama language, the songwriters invariably included “nature” and “deeds” in the same category, emphasizing the similarities between the two, but in other aspects besides language, And “when the line ” shows the trend of parting ways together. For opera content, figure building, opera structure and other creative writing, songwriters mostly “” quality “evaluation, and ” when the line "is mainly about temperament, performance, arrangement and other issues related to artistic practice.