從山水與李白生命世界的關聯，本文自三個方面－人境之側的清麗山水、雲山之間與「尋仙」活動相關的奇幻山水，以及憤激之際寓意作品中的猙獰山水－討論李白詩歌中的山水美感話語。文中提出：李白在以成系列的小詩書寫人境中山水時，彰顯了與人的生命、身體共存的山水之「風土性」，從而與王維系列之作以「遊止」標點的地景相區別。本文又自李白書寫「江潭」的詩作切入，說明其山水書寫中所標舉之「清」，著意不在有固定光源的對象世界和主體的視點，而在於身心一體、天人一體之中體驗明淨的大氣感和光韻。李白經由身歷而吟詠異代詩人曾吟詠的山水故跡以令「今古相接」，使山水如典籍一樣，具有了傳承斯文的意義。李白在雲山之間的「想象」、山水中的動力感，以及任意變動闊狹的空間意識，皆是道教觀念在中國詩歌山水書寫中綻出的奇葩。李白在為個人窮通或國事極度憂憤之際，其寓意之作中會出現蠻荒、凶險甚至對人類充滿敵意的大自然。本文基於中國文學與西方文學的寓意作品之辨分，以為不應無視李白在此所直接呈現的山水圖景之美學意義，並視之為中國詩歌山水書寫中此前罕見的崇高感的源泉。李白由此令中國詩的山水書寫真正走出了一般的遊覽、去離和棲居中的應景書寫。在美學上，則走出了以往的畫意追求。本文最後總結：李白詩歌中的山水世界儘管相互暌異，卻在在皆彰顯了中國文化中淵源和義涵紛繁的「氣」。自探討與自然之道相關的山水之題旨考慮，本文最終將李白山水書寫中表現出的「氣」歸結為現象學者巴徹拉所謂「想像的形上學」中的「物質意象」。以此，李白的山水書寫提供了一個從「物質意象」去同時思索詩學的物質本質要素和中國古代「氣的思想」中「想像的形上學」的難得個案。

In terms of how mount-water is related with the poet's life, this article discusses the three aspects in the discourse of the landscape aesthetics of Li Bai's poetry, the clear and lucid shanshui beside the human world, the celestial shanshui between mountains and clouds, and the ferocious shanshui hostile to men in allegorical works. It contends that, when the poet writes about the shanshui beside the human world in the form of lyric sequence, he highlights the environmental with which human beings and shanshui are sharing symbiotically. Thereby these sequential poems differentiate from Wang Wei's series of short poems which, on the other hand, consists of punctuated scenes. Started with an observation of the poet's writings on ”deep pool” at the bent of flowing rivers, the article demonstrates that the meaning of ”qing” highlighted in his landscape writing, whose stress is not on the objective world with a fix source of light, seen from a point of view by a subject, instead, its emphasis is on the clear atmosphere and aura experienced through the unity of nature and man as well as the unity of human body and mind-heart. By re-visiting and re-writing about a scene in shanshui which had been written by an ancient poet, Li Bai assumes that the present has been linked to the remote past at this point. Shanshui in this regard had been loaded with lyric culture to disseminate a tradition as literary texts did. In the poet's verses about the celestial shanshui between mountains and clouds, the imaginative world, the dynamics in both mount and river, as well as the malleable space that could be broaden or shrunk are all resulted from his religious Taoism. In worried and indignant mentality either for his own misfortune or for the country's disaster, the poet wrote some allegorical poems which unfold savage natural landscapes hostile to men. By differentiating Chinese allegory from its Western counterpart, the article proposes that the aesthetic significance of the landscape of this kind shown in these poems should not be slurred over by the research. The savage landscapes here are in fact the very source of the sublime which so far was rarely seen in the landscape writing of Chinese poetry. Li Bai therefore leads the landscape writing to going beyond the limit of travelling, parting and seeing-off, and occasional writing in reclusive life. In aesthetical terms he leads the landscape writing to going beyond the pursuit for the picturesque. The article concludes with a point that however different the three worlds may be, they all highlight the vital quintessence in cosmos, qi, whose intellectual sources and meanings in different contexts, however, is diverse. Considering that the article's focus, landscape, is related with Tao of nature, the author finally treats qi as Bachelardian ”material image” rather than simply a philosophical concept. In this regard, Li Bai's poetic writing on landscape provides us with a precious opportunity to speculate about the material element of the poetics and meanwhile, the ”imaginative metaphysics” of ancient Chinese thought on qi.