云梦学刊

楚辞文学除宫廷、天上、水边三大舞台外，“山中”描写虽非中心，却为作品增添了独特层次与情感。汉代拟骚作品如《招隐士》继承了《九歌·山鬼》的意象，将山中景象与个人忧苦结合；至魏晋，招隐诗将山中视为清幽的隐逸空间；南朝时期，《山鬼》体取代《离骚》体成为主流，宫廷文人偏好其哀艳风格，并将其意象引入诗赋，使“山中”逐渐脱离原初的孤寂色彩，转向雅致与感伤。这一演变与晋宋山水诗的兴起存在内在关联，谢灵运等人的创作融合了《楚辞》的山中意象，最终在王维的楚辞体诗歌中实现山水意境与楚辞传统的完美统一。

In addition to the three primary settings of the court, the celestial realm, and the waterside, the depiction of “the mountains” in Chu Ci literature, though not central, adds distinctive layers and emotional depth to the works. Han dynasty Chu Ci-inspired works like Zhao Yin Shi （《招隐士 》） inherited imagery from The Mountain Ghost in the Nine Songs(《九歌·山鬼 》),intertwining mountain landscapes with personal anguish. By the Wei and Jin Dynasties, hermit-inviting poetry transformed the mountains into serene spaces of seclusion. During the Southern Dynasties, The Mountain Ghost style supplanted the Li Sao style as the dominant form. Court literati favored its elegiac and sensual aesthetic, adapting its imagery into poetry and prose. This process gradually stripped the “mountain” of its original solitude, transforming it into a symbol of refinement and melancholy. This evolution is intrinsically linked to the rise of landscape poetry in the Jin and Song Dynasties. The works of Xie Lingyun and others integrated the mountain imagery of the Chu Ci, ultimately achieving a perfect synthesis of landscape aesthetics and the Chu Ci tradition in Wang Wei's Chu Ci-style poetry.