過去研究者已經注意到南北朝的「南」、「北」差異，然而以南朝地域而言，長江下游的揚州與長江中游的荊州，對南朝士人而言存在截然有別的空間感。那麼，位於荊、揚兩州間的江州，就成為南朝士人宦遊時必經的空間。本文分三部份，首先談南朝作家如何將自身驚急的旅途與江州空間連結，且談擬西曲對江荊州統治權的政治意涵；再次，聚焦談鮑照、江淹兩位作家於江州時所寫的盧山諸詩，談其中的仙靈氣氛建構與文化屬性；其三，則聚焦何遜、陰鏗與江州相關的詩歌，談他們如何將自身沿江宦遊的厭倦，投射至江州空間，寫出有別過去的山水詩。就本文看來，江州代表的除了是南朝版圖的中介，同時卻又如仙境或空無的地景。作家至此除了興發隱逸情緒，更運用了另外一種空無與感傷的筆調，書寫他們所親歷的江州。

Past researcher has paid a lot attention on difference between Southern and Northern Dynasty. However, to the space of Southern, the medium and below of Yangtze, Yangzhou and Jingzhou, are totally different spaces to Southern writers. Jiangzhoulocated between Yangzhou and Jingzhou, becoming a place is bound to visit for Southern writers. This paper has three spindles, above all, how these Southern writers connected their alarmingly dangerous trip with Jiangzhou and the politicalimplications of “westernsongs” to the right to ruleJiangzhou and Jingzhou. Second, I focus onBao Zhao and Jiang Yanwhose works of Mountains of Lu in Jiangzhou also discuses of faerieatmosphere and cultural characteristic. Third, I focus on Yin Keng, Ho Xun andrelative poetry of Jiangzhou. Talking about how they project frustrated mood in life and career to the place, Jiangzhou, theywrote another landscape experience.On this paper, Jiangzhourepresentthe intermediary on Southern Dynasty territory.Besides, there’s the wonderland also aerial space. These writers come here to expressseclusivemood furtheruse a sad and unrealkind of style to write about experience for them in Jiangzhou.