本文以杜甫自秦入蜀紀行詩二十四首為範園，析論其文學成就計有以下數項：開闢嶄新的描寫領域，白描入蜀道中之山水實景與真情實感；使用類似組詩的形式及變幻莫測的筆力，提供來回玩賞的閱讀可能；運用鮮明的形象與多重之感官摹寫，營造「身歷其境」的效果，並以隱喻的形式寄寓深沈的人生感慨，多方詮解人與自然的關係。 而其文學史之地位則可由幾個脈絡來把握：以其自身創作的系統而言，可視為秦州詩的延續，若與草堂詩合觀，則可見其多元豐富的自然觀。他向紀行賦汲取養分，聞創了紀行詩的體式，而整組紀行詩與山水詩之形成有關之各類詩體也有一定的關係。至於在山水詩的傳統中，則是比較偏向謝靈運的路線而堪與王、孟詩派分庭抗禮的。如果忽略了此類詩作存在的事實與其真正的價值，而逕以王、孟澄靜澹美的詩風作為中國山水詩的代表，將造成文學史研究的重大損失。

This paper discusses the literary accomplishments of 24 poems written by Du Fu to record his journey from Qin to Shu in terms of the following: the development of a new descriptive endeavor by directly describing the natural scenery (mountain and streams) seen on his trip to Shu and the poet's feelings at the time; the use of a formalistic style similar to a poetic set and an ever-changing descriptive voice to provide the reader with a group of works that lends themselves to intertextual readings; the use of clear, direct images and multi-leveled sensory descriptions to give the reader the impression of actually having made the trip himself; and the veiled encoding in the texts of profound reflections on human life to provide a richly textured interpretation of the relation between man and nature. Likewise, these poems are important with respect to literary history. In terms of Du Fu's own poetic opus, they can be seen as an extension of works written during his stay in Qin. Meanwhile, taken together with his caotang (literally "grass hut", a reference to the type of a hermit-like dwelling) poems, they show Du Fu's multi-faceted and complex naturalism. In terms of literary traditions, Du Fu on the one hand drew from the tradition of writing fu to record journeys while on the other creating a new poetic form: poetic records of a journey. At the same time, this group of poems can be discussed in relation to the various poetic styles that make up the tradition of nature (mountain and water) poems. Du Fu's poetic record is not just stylistically closer to Xie Lingyun, but can also be seen as standing in opposition to the poetic style that developed around the poets Wang Wei and Meng Haoran. As such, it would be a great loss if we, as literary historians, overlook the importance and value of this style of poetry and instead simply take the beautific quietism of Wang and Meng to be representative of classical Chinese nature poetry.