「山水」是六朝詩歌的重要主題，本文認為六朝「山水」詩歌的形成乃是 六朝整體「山水」論述中的一環，這種論述涵蓋詩歌、繪畫、散文，文與玄學 的論;主持目關，其形成期大約在東晉永和到劉宋元嘉的百年間，筆者稱此為玄化 的山水觀，蘭亭詩、謝靈運詩、宗炳的(山水畫序)可為此類型的山水之代 表。「玄化山水」之「玄」除意指與玄學的關係外，更重要的是意指一種虛靈 而化的山水，此虛靈而化可名為「玄J 0 ，玄化山水」既反映了氣化思想在自 然觀上的展現，同時也預設了觀者主體也要有「玄化J 實即「遊乎一氣」的 態度。以玄化主體遊乎玄化之境，自然本身剎那間新新不已，因此，有不斷湧 現出的美感形式，這是一種贅術之「理」的誕生。玄化的主客兩面乃存在之實 相，日常的狀態中所以無法呈現，乃因諸育作祟使然，所以玄化的山水觀要建 立在一種「脫情」的主體之玄覽上面，此時即有贅術的工夫論可言。玄化山水 觀在音宋間建立起來後，它變成爾後中國山水畫與山水詩一個很重要的模型， 可視為一種建立在形氣神身體觀與氣化的世界觀上之理想類型。

“Shan-Shui" (Moutain-Water) was an important poetry motif in the Six dynasties. This article supposes the genesis of “ Shan-Shui" poe 甘y was a part of the whole “ Shan-Shui" discourse , which included poe 甘y ， pamtmgs and proses and was related to “ Xuan-Xue."I term this discourse 叫“ Xuan ized Shan-Shui ," which could be represented by Lan-ting poem , Xie Lingyun's verses, and Zong Bing's “Preface of Shan-Shui Painting." The word “ Xuan" not only indicates Xuan-Xue , but also refers to the spiritual and atmospheric Shan-Shui “ Xuan-ized Shan-Shui" reflects the influence of the idea of Qi on the concept of nature , and presupposes the subject must be “ Xuan-ized , " too. In order to carry out the reality of Xuan, the subject has to eliminate his/her sentiments - this approach could be seen as a cultivation of art. After “ Xuan-ized Shan-Shui" was established , it became a significant model ofChinese Shan-Shui painting and Shan-Shui poetry, and could be regarded as an ideal type based on the body thinking of Xing-QiShen and the world outlook ofQi.