廬山佳絕，歷來吟詠不絕；在唐宋文人以詩文為主體的書寫潮流中，晁補之獨託興於「詞」。自元符二年（1099）貶謫信州開始，至崇寧二年（1103）因黨禍罷還家園，「廬山」往來縈懷，至以「思廬山」為主題系列創作，幻化為「別是個、瀟灑乾坤」的桃源世界。「思山」詞中，流露對廬山小隱的無限嚮慕，卻始終堅守陶淵明式的歸隱生活；於矛盾衝突中，顯示了詞人的甘貧守道與真淳多情。晁補之詞筆下的廬山，表現了個人的生命情懷，豐富了廬山的人文意象，詞體的發展上別具意義與特色。

“LuShan” was considered a great masterwork of Chao and to be chanted continually. The main literature style of literati in Tang and Song Dynasty was poetry and writing, among which, Chao Pu-Chih’s theory of Tzu is of critical importance. During YuanFu 2 years （AD 1099） to ChungNing 2 years （AD 1103）, before Chao moved back to his hometown from relegation of Hsin state, he had often gone through LuShan. Thus, LuShan became the main topic of his creation. In his works, he expressed his desire of hermitic life style in LuShan, but persisting in Tao Yuan-Ming’s; he also showed that Tzu’s attitude toward life were conservative and optimistic. Chao Pu-Chih’s description of LuShan expressed personal feeling about life and enriched the humanely image of LuShan. His influence on Tzu development was significant and extraordinary.