本論文之主要目的在於詳細探討劉宋詩人鮑照(414?-466)的山水詩，分析其修辭 、結構和風格，從而確立鮑照在山水詩史的地位。在中國文學傳統中，多數學者以劉宋的謝 靈運為山水詩的創始人，而在討論山水詩時往往以謝靈運為起點，然後將南齊的謝朓視為第 二位山水詩大家，對於鮑照的作品，則著墨不多。本文從山水詩的定義說起，簡短討論了定 義的轉變和謝靈運山水詩的結構、發展和定型。按著討論鮑照山水詩的寫作背景、心情、風 格、練字等等，並興謝靈運的背景、學識互相比較。最後分類研究鮑照主要的山水詩作品， 其中包含了廬山詩、陪同上司登山遊覽之作，和公務旅遊詩。我發現鮑照的作品在各方面受 到謝靈運的影響，但在風格和結構上都有突破和創新之處，而他的公務旅遊詩轉而影響了後 來謝朓的山水詩。所以鮑照的文學史定位應該是介於謝靈運和謝朓之間的轉型期的重要詩人 。 人。

　　　　　The purpose of this article is to explore Bao Zhao's (414?-466) landscape poetry, to analyze its syntax, structure, and style, there by establishing his position in Chinese literary history. Most scholars believe that Xie Lingyun 謝靈運 (385-433) was the initiator of landscape poetry and often regard Xie Tiao 謝朓 (464-499) as his successor. Traditionally, the critical focus of this poetic genre has been placed on the two Xies, while Bao Zhao 鮑照 has been ignored as a landscape poet. I begin by discussing the definition of landscape poetry and its transformation based on the poetic model established by Xie Lingyun. Then I go on to analyze Bao Zhao's personal background, learning, and poetic style in comparison with Xie Lingyun's. Finally, I come to focus on Bao's major landscape pieces, includin g his poems on Mount Lu, official traveling, and those written while he accompanied his superiors to scenic spots. In conclusion, Bao Zhao received great influence from Xie Lingyun, but also created his own style and structure. At the same time, his new poetic style in the landscape genre influenced Xie Tiao's works. He should thus be recognized as an important transitional poet in this genre.