本文從江淹（444-505）詩賦中兩個新現象為起點，討論以何遜和陰鏗為代表的南朝詩歌山水自然山水描寫中經營藝術空間的新方式。作者提出：何遜詩中所表現出的對山水美感與個人情緒的分割，自個人經驗去感悟世人普遍情感的抒情意識，以及對景物間的光影關係和氛圍的重視，使他率先在舟中所望江天之月和雪地訪梅的原型中，創造出以彰顯中心「時象」的同質性氛圍的畫意空間，而此畫意空間是詠物與即景山水的結合，又不妨看做是江淹「九石赤虹」中畫意空間的世俗化。由梁入陳的陰鏗則發展了江淹所開始的「祇取興會神到」而突破經驗世界的空間經營，化山水為意義繁複的「讖象」。何遜和陰鏗代表了中國詩趨向近體化過程中山水描寫中兩類「從外向內」的轉變。

Starting from an observation of two nascent phenomena in Jiang Yan’s rhapsodic prose and poetry, this article discusses the new ways of managing “poetic space” in the description of the natural landscape of the Southern Dynasties. The author contends that He Xun, with his separation of aesthetic feelings from personal emotions for landscape, his lyrical ontological consciousness comprehending universal feelings , and his sensibilities of the light/shadow and emphasis on the aura, made himself the first poet to create the pictorial space to highlight a thematic image of time with homogeneous color and aura on the archetypal occasions of watching the moon in a boat and of visiting the blooming plumtrees in the snow. The pictorial space was a combination of the description of natural landscape in the sub-genres of poetry about objects and occasional poetry, and it was no less than a secularization of Jiang Yan’s similar accomplishments in his description of “the red rainbow above the Jiushi.” Yin Keng, on the other hand, developed another innovation of Jiang Yan’s spatial management, which broke through the empirical world to meet the poet’s imagination. Thus, the natural landscape in his writing became a sort of “omenscape” with rich and complicated meanings. He Xun and Yin Keng represented two shifts of “internalization” in the description of natural landscape when traditional Chinese poetry was moving towards regularization.