本文以謝靈運的作品為對象，追索山水詩中體現於文字中山水美感這一話語形構派生樹的生長。文章首先以田野考察結合古代文獻徵引的方式，考辨了謝詩若干有爭議的地名方位，證明謝靈運山水詩乃基於以詩人歷史經驗建立的外在參指框架。然謝詩此一「非虛構的」山水卻非同於所謂「客觀的」山水。作為話語山水的謝詩彰顯了現象學家梅洛—龐蒂所謂審美知覺之「凹陷部分」。本文基於此而初步爬梳了凝結於謝詩文本中種種山水美感，包括其敏感、錯覺和盲點。並論斷此一美感系統乃基於山／水一詞隱含的一元兩極構架。「山水」作為古人對自然風景的最早概括，本身即為東晉士人遊賞和描寫山水之風氣所鑄就，它來自山／水相對的並列式表達。在以轉喻方式實現詞義擴大的初期，仍以基元性的山／水構架支撐觀賞和寫作自然風景的審美知覺，而謝靈運作為早期「山水詩人」，以對山與水分明交合的描寫具現了這一構架。最後，本文揭示了謝靈運山水詩中心物關係話語中的分裂：在以山水化除鬱結、祛情累的玄學話語之外，謝靈運又書寫了「覽物情彌遒」這類情累無以祛除的時刻，並以景物摹擬和反襯心緒。這裏啟動了一種「外在的內在化」的表現，成為日後以「景語」作「情語」詩學話語的開始。

Taking Xie Lingyun’s (385-433) landscape poems as its focus, this article tracks the growth of the “tree of the enunciative derivation” landscape aesthetics in the discourse of early Chinese landscape poetry. Carrying out an on-site investigation and citing ancient data, the article first identifies some controversial sites Xie wrote about in verse and thereby confirms that Xie’s landscape poems indeed were based on an external referential framework. Xie’s poetry highlights what the phenomenologist Merleau-Ponty calls the “hollow” in an artist’s perception. The article then displays a spectrum of Xie’s landscape aesthetic perceptions: his sensibilities and misperceptions. Furthermore, it infers that Xie’s aesthetic system was based upon a frame of bipolarity within oneness implied by the new compounded word shan-shui (mountain-river). The article expounds that, as the earliest designation for natural landscape, the term shanshui itself emerged from the atmosphere of viewing, admiring and writing about the natural landscape by Eastern Jin literati. The morphological origin of this word can be traced back to the earlier coordinate clauses respectively referring to shan and shui. In the initial stage of the metonymic expansion of the meaning of the word shanshui, the essential frame of bipolarity within oneness (mountain/river) implied in the word’s morphogenesis still underlay the aesthetic perception in viewing and describing the natural landscape. Xie Lingyun, the earliest poet of this subject, with his description of a clear-cut mountain and river, incarnated this essential frame. Finally, the article reveals a split in Xie’s literary discourse about natural landscapes and poetic feeling. Apart from the Dark-Learning discourse in which the natural landscape could free man from emotions, Xie also wrote about the moments when the natural landscape even intensified and symbolized his sadness and emotion. A process of “internalization of the external” is inaugurated here and triggers a later discourse in which natural scenery stands for emotions.