本文關注元結、柳宗元山水書寫中親暱空間上更小的人間山水世界的話語特徵，並將其概括為中唐山水美感話語中發生的一種變化。以此，泉石或水石成為了新的興趣所在，亦造就了家居於泉石世界，向內心歸返的動機，從而令泉石被納入詩人之自我存在。本文以為這是所謂「文人園林」發生中向被忽略的一個歷史語境，亦是元結、柳宗元兩個案於中國文學山水美感研究中的特殊意義所在。其中柳宗元面對雄偉，陌生世界的不自在表現，不妨概括為逆反崇高感的傾向。此傾向結合儒家的人文化成觀念，激發了其對葺治山水，增益水石花木之美的造園活動之關注。本文第三節專論柳氏造園思想，提出；這一個案不僅展示中國傳統景觀學如何由山水馴至園林的發展軌跡，且初步提出了依勢造景的美學原則，深深影響了後世造園的空間佈置。

This article discusses a feature in the landscape writing of Yuan Jie and Liu Zongyuan, being fond of human landscape world in a small space, and generalize it as the shift of Chinese landscape aesthetic discourse in mid-Tang . In accord with this shift, ＂quan-shi＂ (spring-rock) has replaced ＂mount-water＂ to become the major interesting object for landscape enjoyment and to make motives for literati to live among springs and rocks to realize their way home to the mind-heart. The spring and rock in this regard have been included into the literati existence. The article contends that the above phenomena was the ignored historical context behind the rise of the so-called ＂literati garden＂ and the special significance of the cases of Yuan and Liu for the research on the discourse of ancient Chinese landscape aesthetics. Liu's uneasiness with the vast, wild and unfamiliar landscape could be particularly defined as an anti-sublime tendency which, combined with the Confucian concept of humanizing the nature, aroused his interest in remodeling the natural landscape and building garden. The third section of this article is concentrated on Liu's theory about layout of the garden, arguing that Liu's writing not only demonstrates the track of how traditional Chinese landscaping ideas developed from the natural mount-water to the garden, but also initially propounds the aesthetic principles for gardening which had a deep impact on the layout of Chinese gardens of later generations.