本文亟欲透過「依體分類」、「循類辨體」的觀念，進一步檢視歷代文學總集或選集中的分類狀況，並考察同時發展的「山水畫」與文人題贊山水活動對於「山水」詩類名稱晚出的影響。本研究尋繹出此中的關鍵因素，可能與唐宋以後風靡於「詩畫結合」的辯證美感有關。個別詩類名稱於文學總集或選集中的出現，正標誌了此詩類「本質」的初步確立，同時顯示古代文學批評家或總集編選者已自覺地認同此詩類的存在；然經歸納歷代文學總集或選集中的分類，發現均未出現「山水詩」之分類詩目。直至白居易〈讀謝靈運詩〉中直指謝靈運所作以「山水」爲主題的作品爲「山水詩」，乃具有初步爲「山水詩」定名的「先驅」意義。但在白居易之後，「山水詩」之詩類名稱仍未被「正名」；反倒是《文苑英華》在「謌行」的「圖畫」一類下繫「山水」，收有「畫山水」七首；於其時，宋許顗《彥周詩話》中亦曾評論杜甫的「畫山水詩」，其後胡仔《苕溪漁隱詩話》繼之爲其增補詩例，魏慶之《詩人玉屑》一書則又引胡仔之說而爲其定下「畫山水詩」之標題。就中國實際文化發展狀況來進行考察，進入唐代之後，確實有許多「畫山水詩」或「題畫山水詩」的作品出現；而觀察整個唐代以來繪畫史觀念的轉變，亦呈現「詩」與「畫」結合的必然趨勢，故澄清「山水」與「詩」、「畫」間的關係，乃是解答「山水詩」類定名與類型化的重要線索。

This article is mainly a research approach of thinking deeply in Chinese "Landscape Poetry" and the compliment on landscape, then to discuss the factor about the late coinage of the Chinese term "Landscape Poetry". This paper explores the origin of Landscpae Poetry and describes the process of development. The purpose of this exploration is to attempt to redefine Chinese "Landscape Poetry" from the concepts of literary form and genre through past dynasties' general collection of literature and selected works. On the basis of this discussion, the author will investigation further the relationship between Chinese "Landscape Painting" and Written poems that praise landscape. The inflnence will be discussed in the conclusion with the factor about the late coinage of the Chinese term "Landscape Poetry".