本文針對《柳宗元集》中三卷書寫永柳山水的遊記詳加探討，分析其在「地以人勝」的創作觀影響下，此一系列作品充滿「無中生有」的創造性意義。文中指出其作品中，這樣創造性的歷程成為結構的一部份，是作品重要的主體之一；亦即其遊記是扣緊山水來敘寫，而其中蘊含的義理，與整個與山水敘寫雙關照應，融為一體。文中綰合其文以明道的主張，探其「無中生有」的遊記結構，以此最能說明上述融文采與意義於一爐的真諦。此「無中生有」的遊記結構，先由創造性歷程之前對「無」的刻畫，次及「無中生有」的創造性歷程，再到對所生之「有」的深情凝視，最後深入思考由此結構所展現的意義，因此能呈顯柳宗元此系列作品創作實踐理論的意義。

　　　　　Leou Tzong Yuan's essays for his journey described several sceneries separately. Those places are not sightseeing spots for tourists and are undeveloped areas at the Middle Age China. Yeong-Juo and Leou-Juo here brought to the world through Leou Tzong Yuan's description and exploration in his essays. This experience reflects his philosophical thinking in which we have to create and generate from something that no one can perceive.