晚明造園風氣興盛，營構出可居可遊的人文活動空間，相關的書寫活動亦蓬勃展開。祁彪佳卜築寓山，並藉由書寫園記、詩文，詮釋寓山的景觀與意境，其中《寓山注》以一組園記的形式呈現，尤其饒具意味。首先它是園主自撰之文，最能緊密結合勝景的命名，說明園林的整體規劃、景象結構，與迴映主人生命的園林意境。其次它乃分景作記，猶如在遊園的動態序列中暫作駐足，使其在景象結構中的性質與關係得到專注的審視。其三諸記內容包括景象結構的書理，園林意境的呈現，每每抒發主人的精神意態，居遊之人的應接之情從而得以舒展於文字之間。其四它為主人有意集結成書，有附錄、有評點，自成完整的結構，是晚明園主自撰園記最完整的典型。祁氏以自我為山水作注，建構寓山園林，再以文字書寫為此主體化之園林作注。 本文即試圖透過《寓山注》的文本解讀，分別從園記取數、命名取意、園林景象結構之導覽、園林主體意境之抒發等角度進行觀察，探訪祁氏藉由《寓山注》所可能賦與寓山園林的多重層次的意義。首先依據其歷年日記、《寓山注》、寓山圖，考知寓山得名勝景凡六十一處，作「寓山勝景施作年表」，進而以主人「家世受易」的背景，解說《寓山注》四十九篇園記之取數。其次說明園中諸景之命名，並抉發園林總名沿用舊稱之深意，歸結於以寓統攝夢覺之人生感懷。再次，從主人園林美感的開發、自然與人工的景象要素、途徑與掩映的景象導引，分析《寓山注》所鋪陳出的景象結構。最後，則從園林建制映照家族情感、漱石觀水體現主人情志、登高眺遠縱覽時空幻變，闡述主人生命意識所映覆的園林意境，寓山之山水遂不只是一片客觀的山水，而是為主人所內化了的主體性空間。

In the late Ming Dynasty, the trend of building garden was flourishing. The gardens were created as a livable, travelable, and human activities' space. At the same time, the garden writing also grew prosperously. Chi Piaochia (祁彪佳) built Yushan (寓山) and interpreted Yushan's landscape and imagery by writing prose (yuanji園記) and poetry. Yushan Chu (《寓山注》), a set of Chi's prose, was specially meaningful. First of all, the prose was written by garden owner so they can combine closely with the naming of sceney to explain the garden's arrangements, scenic structure, and the garden imagery. Second, just like every stay in one's visiting garden, the prose was diversified by different scenery. By means of this, the property and relation of scenic structure got devoted gaze. Third, the prose revealed the scenic structure, garden imagery, and the owner's spirit. The feeling of the dweller or the visitor can be relieved by words. Forth, the prose was edited by the garden owner's intention. It has a complete structure with appendix and annotation. It is the very model of the garden owner's garden writing in the late Ming dynasty. Chi annotated himself on landscape, built Yushan garden, and then annotated the subjective garden by this garden writing. This research tries to analyze Yushan Chu from the following points of view: the number of prose, the meaning of naming, the guide of scenic structure, and the expressing of garden imagery of subjectivity, through the writing of Chi's Yushan Chu tried to look for Yushan garden's possible multi-meanings. First, according to Chi's diaries, Yushan Chu, and Yushan paintings, we learned that there are sixty-one scenes in Yushan, and I offered a chronology of Yushan scenery's building, interpreted the succession of Chi family's studying “Yi” (《易》), and then explained why the number was set in forty-nine in Yushan Chu. In addition, I also try to explain the naming of the garden views, why Yushan was named after the former one, and concluded that both dreaming and awakening in life were sojourn. Furthermore, I analyze the scenic structure in Yushan Chu by means of the essentials of scenery, and the scenic guide. At last, I expoound the garden owner's sense of life concealed in the garden's imagery through the clan's feeling reflected in the garden's organization, the garden owner's mind developed by observing the scenery, and the observation of the change of nature by climbing high. Finally, sojourned landscape was no longer objective scenery, but deeply internalized in the garden owenr's subjective space.