本文由水滸故事流播過程中的江湖書寫及其所回應的「變局」，藉由「避地」、「採錄景象」等手法的呈現，成為一個很具代表性的、流動的意象世界，此一世界呈現多面向、多層次空間意象的指涉。經由早期「梁山泊」的「巨野澤」書寫，衍生出與歷世歷代的心靈產生連結，使此存在空間成為不斷賦予創造意義的「地方」。後世更在知識社群、民間傳講、義軍內部演繹，形成多聲部言說狀態，逐漸由江湖言說朝向江山想像趨進。文中指出《水滸後傳》的江湖述說乃將梁山泊忠義堂的「廢墟」及還道村九天玄女廟改變為家族化宗祠、世俗化的廟宇，將暹羅國丹霞宮的修真道場成為國家信仰中心、將山頭意識轉化為逃名之人間淨土、以及航向島嶼等敘事修辭，回應明清語境中「水滸」意涵由「抗」到「征」、「逃」的書寫變化，在水滸故事傳播的脈絡化過程中，經由多面向的歷史折照，我們可以瞥見「建國」的靈光，是一種由江湖到江山多重變奏的建國想像之歷史潛流。

This article analyzed the story of Shui-hu through the description of Jiang-hu, the folkway, the changes of events as well as the action of escaping from the chaos world. It has become a representational and mobile worldview that involves multi-facet and multi-dimensional imagination of space. From the description of the huge swamp area in the early novel of “Liang-shan bo,” not only “the space” concept of Liang-shan bo has been connecting spirits from generation to generation, it also becomes “a place” where creativity seems never end. The phrase “shui-hu” originated from the folktale of volunteer army and the dialogue of the knowledgeable people after a long period of discussion. It had achieved a well-sound position that the smaller viewpoint of Jiang-hu was replaced by a much greater perspective of Jiang-shan (nation). This article points out how the book of Shui-hu-hou-zhuan describes the changes of Liang-shan-bo from war ruins, memorial site, family shrine, and how it becomes the center belief of the nation. Besides these, the meaning of Shui-hu has also implies a hiding place where people can find peace of mind. Furthermore, the remnants of shui-hu finally pursue their utmost peace by sailing to a far away island. The development of the story representes the change of shui-hu, from it resistance conquer, and from it conquer to escape. It also implies that how the possibility of an “outlier” organization moves from triviality to become the focal point of the society as well as the nation, and later, a brand new nation emerged as a result of this idea.