本文自明人祁彪佳寓山園的兩種題名方式追問中國造園理論中「借景」說的淵源。學界一般追溯寓山園的四字題名方式至北宋宋迪的瀟湘八景，本文以為其審美觀念甚至可以追溯到梁代何遜詩中以「時象」為重心的原型山水美感。然隨「八景」或「十景」的「在地化」，原先宋迪八景中呈現特定「時象」的相當開放的空間架構被收窄甚至關閉了。而且，與八景範型原來已較具體化的「時象」結合，最終拘限了個人美感體驗的內容。本文指出寓山四十九「分勝」的題名方式實廣泛為明代文人園林所採用。作者大量徵引明人園記，論證此類題名以只標示位置，乃為一種更即興的體驗所設，它開放了時間上的限制，以四時晨昏之中雲霞煙靄嵐光風雨雪霧和草木枯榮的色彩變化為即時之興提供了無窮的可能。作者由王維所居之輞川乃明代文人園林最具公約性的隱喻這一現象出發，通過比較王維和裴迪對輞川「遊止」的吟詠，進而提出：美景在此只是此一存有者在與整體存有界同現共流之中對意義的領會和開顯而已，嚴格說來不可重複。而明代文人在園居生活之中，實如詩人王維盤桓於輞谷山水，時而詩興欻然自起。造園論者計成以一個「借」字，將此處之景其實賴於一時之興的秘密點破。園林中在造園時未定的部份，即相當於宋以降山水畫中的留白，亦不妨喻為詩論中的「象外之象」、「景外之景」。

Started with an observation of two ways of inscribing sceneries for Ming literatus Qi Biaojia’s garden, Yushan yuan, this article traces the origin of ＂borrowed scenery,＂ one of the fundamental concepts of Chinese garden. Scholars usually believe that the four-character caption of ＂jing＂ in eight-jing tradition originated from Northern Song painter Song Di’s series paintings ＂Eight Sceneries of Xiao-Xiang.＂ The author of this article on the other hand tracks its aesthetic archetype to the Liang poet He Xun whose poetry presents an image of time centered natural landscape. However, resulted from the localization of the eight or ten-jing tradition, the opened space was closed. Combined with the specific image of time in this tradition, the eight or ten-jing tradition finally restrains individuals’ landscape aesthetic experience. The article demonstrates that another way of inscribing sceneries for Qi’s garden was actually broadly applied in Ming literati garden. By quoting a lot of Ming writing for gardens, the article contends that this way of inscription essentially only stipulates a site, while let time sufficiently open. In this regard, the meteorological and floral changes through seasonal and diurnal passage of time provide with infinite possibilities for occasionally aesthetic stimulus. Noting the fact that the Tang poet Wang Wei’s Wangchuan valley was used by Ming literati as the most popular metaphor for their gardens, the author compares Wang’s poems with his friend Pei Di’s poems on the same sites of Wangchuan and thereby argues that the beautiful scenery here is nothing but dasein’s comprehension and open-up of the world of beings while he is within the torrent of the beings. The beautiful scenery therefore is absolutely not repeatable. Like Wang Wei loitering around his Wangchuan valley, the Ming literati living in their gardens might also have poetic inspirations spontaneously. The Ming theorist of garden, Ji Cheng, uses one word, ＂borrowing,＂ to indicate that the scenery here depends upon an individual poetic incitement of here-and-now. The undecided part of a constructed garden, like the blank space in landscape paintings after Song or ＂scenery beyond scenery＂ in the theories of poetry, is a space reserved for visitors’ imagination.