本文以王士性《廣志繹》、《五嶽遊草》為考察對象，探討「江南」一詞的內涵與文化意義，分從空間意象的知覺與體驗、光影染動的山水容顏、文化記憶的內涵與書寫形貌等三個向度詮釋王士性的「江南」體驗。地景一節講述水鄉/澤國的地理景觀所創造的舟行風景與民俗敘事，光影一節則由氣氛美學的角度詮釋人在空間中所觀照的光影情韻；文化記憶一節則論述「江南」所涵容的吳越歷史與文學化的地理景觀。結語則指出王士性的書寫向度除了民俗敘事、美感經驗、文學地景之外，還創造了具知識性與辨實考古的考證旅行學。藉由不同的文體與表現手法，玉士性展現了他身為浙人對於江南的歷史、土地、人文等多向度的體驗與詮釋。藉此可以理解「地域」與「人文」之間相互詮釋的內在關係，既是「文本中的風景」亦是「風景中的文本」，這也是「江南」一詞得以無限創發，續衍流傳的文化本質。

This paper examines Wang Shi-Hsing's ”Kuan Chi Yi” and ”Wu yue you cao” (Notes of Five Sacred Mountains), investigating the connotation and cultural meaning of ”Jiangnan(江南). Interpreting Wang's Jiangnan experience from three aspects: Landscape the sense and experience on spatial imagery, the natural scenery colored by light and shadow, the connotation and shaping of cultural memory. ”Landscape” describes the boat traveling scene and folklore narrative. ”Light and Shadow” interprets how people react with the spatial imagery from the aesthetic view ”Cultural Memory” discusses the term ”Jiangnan” (江南) and how the term contains the literary and historical geographical scene of Wu (吳) and Yue (越) The conclusion notes that besides folklore, aesthetics, landscape, Wang also creates an intellectual and archeological travel studies. Wang presents his understanding and interpretation of the history, land and culture of Jiangnan (江南) via different genres and techniques of theme as a Zhejiangese. Thus, recognize the interactive interpretation between nature and culture. It is not only the landscape within the text, but the text within the landscape. That is also the cultural essence of ”Jiangnan” (江南) which can infinitely extent and continuously spread.