“山水”是冯至四十年代初创作的中心，既是散文集《山水》、诗集《十四行集》的内容与主题，散见于不同文体，构成解读冯至作品与精神的关键概念；又寄寓着一种独特的精神底蕴，即中国传统山水观与里尔克为代表的西方山水概念融汇遇合的“山水” 精神；此外，作为冯至四十年代的诗学观念与方法，“山水”还是处理自我与世界关系的诗歌技艺与认知框架，承载着冯至三十年代的诗学理念过渡、主体转向与精神流变。因此，透过冯至的“山水”书写谱系，本文试图发掘四十年代前期冯至的“山水诗学”诞生、发展和转化的具体情境、思想源流与文本亲和力。

本文一共分为三章，以时间为顺序，介绍冯至的“山水”诗学形成、实践与嬗变的过程。第一章着重挖掘“山水”诗学的思想源流，分析三十年代的冯至在告别浪漫主义 后遭遇的诗歌创作停滞与精神危机，以及留德期间接触、吸收的种种文学与思想资源， 探讨里尔克的“山水”观与静观、体验的诗艺如何直接促成了“山水”诗学的成型，这一诗学又是如何吸纳其他的思想资源，如宫多尔夫、雅斯贝尔斯的交流，歌德、克尔凯 郭尔的著作，在诞生之初就充满时代关怀。第二章探讨“山水”诗学的内容、表现形式 与美学风格，通过《山水》与《十四行集》之间、以及与其他集外诗文和日记中的山水书写之间的互文性，阐释“山水”诗学的绵延性、流动性与生命力，并具体剖析《十四行集》对中西思想文本与文学意象的创造性转化，强调冯至在诗学实践中的主体性。第三章通过分析《十四行集》的内在形式与结构中的张力，结合四十年代战争的背景框架与西南联大的具体历史情境，探讨“山水”诗学的范围及伦理化、本土化的趋势。

通过追溯“山水”诗学的蜕变过程，本文旨在从文学文本的内容与形式转变中，分析冯至的精神转变轨迹与自我人格形成，以及这一诗学理念是如何转化到政治秩序之中，从而过渡到 1943 年后冯至的写作方向与政治参与的。

"Shan Shui" is the center of Feng Zhi's literature in the early 1940s. It is the title, content, and theme of the prose collection Shan Shui and the poetry collection Sonnets, which are scattered in different genres and constitute the key concepts for interpreting Feng Zhi's works and spirit; it also implies a unique spirit of "Shan Shui" which is the spirit of the fusion of the traditional Chinese view of "Shan Shui" and the Western concept of "Landscape (German: Landschaft)" represented by Rilke. In addition, as Feng Zhi's poetic concepts and device in the 1940s, "Shan Shui" is also a poetic approach and cognitive framework for dealing with the relationship between the self and the world, carrying Feng Zhi's poetic conceptual transitions, subjective shifts' trajectory, and spiritual fluxes during the 1930s. "Shan Shui" is also a poetic technique and cognitive framework for dealing with the relationship between self and the world. Therefore, through the genealogy of Feng Zhi's "Shan Shui" writing, this article tries to discover the specific situation, ideological origin, and textual affinity of the birth, development, and transformation of Feng Zhi's "Poetics of Shan Shui" in the early 1940s.

This article is divided into three chapters, in chronological order, to introduce the process of formation, practice, and transmutation of Feng Zhi's "landscape" poetics. Chapter 1 focuses on the ideological origin of "Shan Shui" poetics, analyzing the stagnation and spiritual crisis Feng Zhi encountered in the 1930s after his farewell to Romanticism, as well as the literary and ideological resources he came into contact with and absorbed during his stay in Germany, and discussing Rilke's conception of "landscape" with the concepts of stillness, meditation, and textual affinity. It explores how Rilke's "Landschaft" view and the poetic art of meditation and experience directly contributed to the formation of the poetics of "landscape", and how this poetics absorbed other intellectual resources, such as the exchanges between Gündorff and Jaspers, and the writings of Goethe and Kierkegaard, so as to be closely connected with the times. Chapter 2 explores the content, expression, and aesthetic style of "Shan Shui" poetics, explaining the duration, continuity, mobility, and vitality of "landscape" poetics through the intertextuality between Shan Shui and "Sonnets," as well as with other extra-collected poems and the writing of landscapes in diaries, delineating the creative transformation of the Sonnets into Chinese and Western texts and literary imagery, emphasizing Feng Zhi's subjectivity in poetic practice. Chapter 3 analyzes the tension in the inner form and structure of the Sonnets, combining the background framework of the war in the 1940s with the specific historical situation of the Southwest Associated University, and explores the scope of the poetics of "landscape" and the tendency of ethnicization and localization.

By tracing the metamorphosis of the poetics of "Shan Shui", this paper aims to analyze Feng Zhi's spiritual transformation and self-personality formation from the transformation of the content and form of literary texts, as well as how this poetic concept was transformed into the political order with textual and contextual affinity and thus transitioned to the direction of Feng Zhi's writing and political participation after 1943.