李陵臺是元代上京紀行詩中最受書寫者青睞的題材。相較於其他時代的李陵臺書寫，上京紀行詩中的李陵臺，其空間意涵顯然已發生質變，因為它不再是無法到達的想像地景，而是一場親身觀察旅行中可以望見或觀看的場所，更特別的是它屬於記憶性古蹟。但對於上京紀行詩的書寫者而言，它是不是李陵臺的原址，其實並不重要，重要的是這個地方能喚起有關李陵與李陵臺的歷史記憶，而且只要有人願意持續性的回憶，這個地方就會存在。所以真實的歷史記憶就這樣附著於虛擬的懷古場所中，讓元代兩京旅程中的荒臺（荒山）成功地接收了李陵與李陵臺的相關記憶，進而豐富了自身的文化意義。
本文將以文化地理學做為主要參考架構，探析上京紀行詩中的書寫者們將如何定義眼前所觀覽的記憶性古蹟？而通過懷古的紀念儀式，他們又在李陵臺的空間中植入了哪些歷史記憶？我們希冀藉由此一討論，深化元代上京紀行詩研究的層面與論述。

Li Ling’s gazebo notes were the most popular theme of traveling poetry in Yuan Dynasty. Comparing the works of Li Ling’s gazebo in different times, the meanings were not the same. It was no longer an imaginative landscape where could not be reached, but a place everyone could visit. It was becoming a historical monument of memorability. However, wheather the place of Li Ling’s gazebo is the original one or not, people care more about the historical memory. Thus, the historical memory exists in the virtual nostalgia place. The author of this article uses cultural geography as the main reference to explore how the writers of Shangdu Traveling Poetry defined the place from their own viewpoints. After reading this article, readers can review Shangdu Traveling Poetry from new perspective.