從六朝以來，秦淮地景即包含豐富的政治、文化象徵，文士往往在詩歌主題中表達對於「故國」的追念。清初遺民群體選擇秦淮作為個人對故明情感的寄託，圖寫興亡，展現對故明的政治身份認同與歸屬。王士禛身為認同新朝的年輕官員，和遺民群體同樣選擇秦淮作為題詠主題，在反清復明的時代氛圍中大膽創作〈秦淮雜詩〉，並淡化遺民秦淮中的「故明之思」，是在其〈秋柳〉詩掀起和作高潮後，試圖使自我融入江南遺民文化圈的成功詩文行動。本文從詩歌建構地景的角度，觀看遺民與王士禛如何通過對秦淮地景象徵的歷史記憶塑形、挪移與改造，以進行自政治、文化身份認同的宣示，並嘗試解釋其背後的心態、作法與詩學背景。

The Qinhuai landscape has been abundant with political and cultural symbols since the Six Dynasties. The literati used Qinhuai to express their nostalgia for their fallen dynasty. In early Qing dynasty, the loyalists expressed their political identity to the Ming dynasty through depiction of Qinhuai. Wang Shih-Zhen, a young official who identified himself with the Qing dynasty, adopted Qinhuai as a theme of his poems and boldly composed “Qinhuai poems” during the anti-Qing period. In this way, he softened Ming loyalists’ nostalgic feelings toward the Ming dynasty. This composition can be seen as a successful attempt to acculturate himself to the circles of the Ming Loyalists after the “Autumn Willows.” Taking an approach from the perspective of landscape construction, this article aims to explore how Wang Shih-Zhen and the Loyalists claimed their own political and cultural identities through formulation, appropriation, and transformation of the symbolic historical memory of Qinhuai. It also unravels the intentions, the methods, and the backgrounds of their poem compositions.