在「瀟湘」山水題畫詩的發展過程中，元代處於思想與情感轉型的關鍵地位。本文經由比較宋代與元代的「瀟湘」山水題畫詩，體察其間觀看視域、寫作型態以及抒情表現的變化情形，分別從地方八景 (十景) 的出現、八景 (十景) 的國家形式、「抒情」與「寫景」的相互關係、「視山水為圖象」的「江山如畫」，與「觀圖象如真山水」的「畫�埵縣s」兩種心態，顯示宋人「情景交融」與元人「以景代情」的書寫傾向。作者對照了宋、元人題寫「瀟湘八景圖」中「漁村夕照」和「瀟湘夜雨」的詩作內容，發現宋人重視「情景交融」，將個人主觀的情思投射於畫中景物，山水往往帶有「我」之意識，運用「瀟湘」文學典文化典故時，也能典詩人所欲傳達的情感相呼應。元人則傾向「以景代情」，喜以客觀的、疏離的態度白描畫上景致，將個人置於歷史的脈絡中思考，故而富有鮮明的時間感與普遍性。「江山如畫」和「畫�埵縣s」這兩組語詞正好分別於宋代及元代出現，具有時代的意義，前者顯示宋人「以我觀物」，江山帶有人文化的傾向，繪畫本即人為的產物，更寓有一己之私情；後者則是「以物觀物」，結合元人循理務實的思想和「發乎情，止乎禮義」的觀念，表達出蘊涵歷史思維的公眾共同情感。

The Yuan dynasty is a pivotal period in the development of thought and feelings in the poems on Xiaoxiang landscape paintings. This article examines examples from the Song and Yuan dynasties for the purpose of charting the changes in viewing perspectives, patterns of composition, and lyrical expressions. We ponder these issues: the emergence of the local "eight (or ten) views"; the compositional patterns of images in the local "eight (or ten) views"; the interrelationship between "lyricizing" and "objective representation"; as well as the two different attitudes of seeing landscapes as pictures ("landscape like a picture") and of taking paintings to be real landscapes ("landscape in the picture"). From these we can observe the change in inclinations from the Song poets' "feelings and scenes in one" to "expressing feelings through the scenes" from the Yuan. We compare the contents of the Song and Yuan colophons on two of the Eight Views of Xiaoxiang, i.e., the Yucun xizhao (Sunset in a Fishing Village) and the Xiaoxiang yeyu (A Rainy Night in Xiaoxiang). We find that Song poets emphasize "feelings and scenes in one": the poet projects his subjective feelings on the scenery in the paintings, making the landscape his thought incarnated. In addition, the literary and cultural allusions of the Xiaoxiang verses echo the feelings that the Song poets wish to express. In contrast, "expressing feelings through the scenes" is preferred by Yuan poets, who tend to present scenery from an objective, aloof point of view. They situate themselves in a historical context, which lends a keen sense of time and universality to their works. The differences between Song's "landscape like a picture" and Yuan's "landscape in the picture" expose larger historical dispositions. Song poets perceive things subjectively and humanize the landscape, the painting thus made embodies personal feelings. Yuan poets perceive things objectively with rational and practical thinking. Together with the idea of "[feelings] originate from emotion and go as far as rites allow" they express publicly shared feelings suffused with a historical sense.