謝靈運(385-433)山水詩最突出的審美旨趣及效果乃是一種「形似」的美感，這種美感典式的開拓也是謝靈運在詩歌史上最重要的貢獻。在謝靈運以「形似」的手法大肆模山範水之前，大規模的「描寫」、「體物」主要體現於辭賦之中，乃賦體之所專擅。謝靈運山水詩的描寫方式即深受辭賦傳統之沾溉，將賦體所擅長的景物描寫移植於五言誠中，且成為詩歌中佔據中心地位的主要成分，開創中國山水詩之形制規模。本文即從謝靈運山水詩中賦化的描寫、感官經驗之強調與同間之建構，以及情景關係的角度，討論其山水詩之主要特色與開拓之處。

The most significant aesthetic intension and effect of Hsieh Ling-y□n’s landscape poetry was the ‘description’ of beauty and this was the most important contribution of Hsieh Ling-y□n’s landscape poetry in the poetry history. Before Hsieh Ling-y□n’s used the method of ‘description’ to present the landscape, the ‘description’ to was frequently appeared in the Fu (賦) works and it was the specialty of Fu. The description of Hsieh Ling-y□n’s landscape poetry was influenced by the traditional Fu works. He transferred the landscape description from which was the specialty in Fu works to poetry, and it became the main part of poetry as well as established the model of format in Chinese landscape poetry. This article aims to discuss the characters and pioneering aspects of Hsieh Ling-y□n’s landscape poetry from the perspectives of his description of Fu-ize, the emphasis of sensuous experience and the construction of the space, and the relationship between landscape and emotion.