“潇湘八景”起源于描绘潇湘风物的绘画作品《潇湘八景图》，有“平沙落雁”、“远浦帆归”等八个画题。其起源时间仍存在争议，但最晚在北宋时期，宋迪的《八景图》已广为人知，并从绘画领域延伸到诗歌领域，“潇湘八景”作为一种文化兴盛起来。“潇湘八景”文化还流播至日本，日本的诗人和画家同样创作了许多以“潇湘八景”为题材的诗歌和绘画，“潇湘八景”最终成为中、两国的共有文化。本文主要研究“潇湘八景”的起源，并以“潇湘夜雨”为例，对“潇湘八景”中的“潇湘夜雨”一景展开研究。

本文主要由绪论、正文、结语三部分构成。绪论主要论述选题背景和意义、国内外研究综述。正文共三章，是本文的主体部分。

正文第一章讨论“潇湘八景”的起源。首先是考证在宋迪之前是否已有《潇湘八景图》，主要是考证“潇湘八景”起源于黄荃、李成的两种说法和《渡湘江》一诗中的“真观八景图”一句的出处。其次是考证宋迪和《八景图》的一些问题，包括考证最初记载宋迪“八景”的文献、宋迪《八景图》的形制和命名，以及《八景图》完成的时间和地点。第二章主要是以“潇湘夜雨”为例，探讨“潇湘八景”中诸景所在地考证的方法。在历史、地理和方志类文献较少记载“潇湘八景”的情况下，本文主要以“潇湘夜雨”题材的诗歌为考察对象。根据宋代诗歌，考证出“潇湘夜雨”位于长沙岳麓一带。但在另一些诗歌中，“潇湘夜雨”的所在地还有湘阴黄陵说和永州零陵说，这表明在不同的时空范围下，人们对“潇湘夜雨”所在地有不同的认识。第三章以“潇湘夜雨”为例，通过文本分析的方式，对中、日两国的“潇湘夜雨”做比较研究。首先是围绕“潇湘夜雨”诗和绘画的关系，探讨宋、元“潇湘夜雨”诗和日本五山诗僧“潇湘夜雨”诗的异同。其次是对中、日两国“潇湘夜雨”诗中的地理信息、典故和意象进行比较研究，宋、元“潇湘夜雨”诗着意于山水描写，而五山诗僧的“潇湘夜雨”诗关注的是中国的“二妃”文化。

结语部分在对本文进行总结的基础上，探讨“潇湘八景”整体研究和“潇湘八景”中单独一景的研究的关系。

"Eight View of Xiaoxiang" originated from the painting "Eight View of Xiaoxiang", which depicts the scenery of Xiaoxiang. It has eight painting titles, such as "Falling Wild Goose in the Sands" and "Sailing Home in the Far Puyang". The date of its origin is still controversial, but at the latest in the Northern Song Dynasty, Song Di's "Eight View of Xiaoxiang " was widely known and extended from the field of painting to the field of poetry, and "Eight View of Xiaoxiang " flourished as a culture. The culture of "Eight View of Xiaoxiang " also spread to Japan, and Japanese poets and painters created many poems and paintings with "Eight View of Xiaoxiang " as the theme, and "Eight Xiaoxiang Scenery" eventually became the common culture of China and Japan. This paper mainly studies the origin of "Eight View of Xiaoxiang", and takes "Xiaoxiang Night Rain" as an example to study a single scene in "Eight View of Xiaoxiang ".

This paper is mainly composed of three parts: introduction, text and conclusion. The introduction mainly discusses the background and significance of the topic and the research review at home and abroad. The main body of this paper is composed of three chapters.

The first chapter discusses the origin of "Eight View of Xiaoxiang". The first part is to investigate whether there had been "Eight View of Xiaoxiang" before Song Di, mainly to prove that "Eight View of Xiaoxiang" originated from Huang Quan and Li Cheng, and to investigate the origin of the sentence " I really saw the eight views" in the poem "Crossing Xiangjiang River". The second part is the textual research on Song Di and the Eight Views, including the documents that originally recorded Song Di's Eight Views, the shape, structure and naming of Song Di's Eight Views, as well as the time and place when the painting was completed. The second chapter mainly takes " Rain at Night in Xiaoxiang " as an example to discuss the methods of research on the location of all the scenery in "Eight Xiaoxiang Scories". In the case that there are few records of "Eight View of Xiaoxiang" in the literature of history, geography and local Chronicles, this paper mainly focuses on the poems of "Rain at Night in Xiaoxiang". According to the Song Dynasty poetry, research proves that " Rain at Night in Xiaoxiang " is located in Yuelu area of Changsha. However, in other poems, the location of " Rain at Night in Xiaoxiang " is also Huangling Temple in Xiangyin and Lingling Temple in Yongzhou, which indicates that people have different understandings of the location of " Rain at Night in Xiaoxiang " in different time-space scopes. The third chapter takes " Rain at Night in Xiaoxiang " as an example, and makes a comparative study of the poems of a single scene in "Eight View of Xiaoxiang " by Chinese and Japanese poets through the method of text analysis. The first is to discuss the similarities and differences between the poem " Rain at Night in Xiaoxiang " in Song Dynasty and Yuan Dynasty and the poem " Rain at Night in Xiaoxiang " by Japan's Five Mountain Poets. Secondly, a comparative study is made on the geographical information, allusions and images in the poems of "Xiaoxiang Night Rain" between China and Japan. The poems of "Xiaoxiang Night Rain" in Song and Yuan Dynasties focus on the description of mountains and rivers, while the poems of " Rain at Night in Xiaoxiang " by Wushan Poetry Monk focus on the culture of "Two Concubines" in China.