辭賦文體對於山水文學的發展流變及其書寫特性舉足輕重，其中由謝靈運所揭啟的山水文學流派，主要藉由山水書寫展現其與外在世界或自我心靈的內在對話，從而完成山水文學的重要抒情意涵，並由此漸次建構山水文學本身的抒情範式；相形之下，另一種藉由賦體的具體問對形態所展開的另類山水對話書寫，則較為學界所忽略，其中緣由這一結合山水書寫與賦體問對的變創形態，固非山水文學的主流創作形態，並且在創作數量上難以與之抗禮。然而也正因這一山水文學的創作支流，展現出另類的山水對話可能，故其中變創特色與關鍵元素，應頗值得學界加以關注與探索，因此本文主要以柳宗元〈愚溪對〉為中心，以〈囚山賦〉與〈貪泉對〉為主要對照組，探索其中之模擬與變創書寫脈絡，從而觀察柳宗元〈愚溪對〉結合山水書寫與賦體問對的典範地位，及其書寫變創與抒情新蘊，對於山水文學傳統或辭賦書寫史的重要意義。 Ci 辭 and fu 賦 literature have had a great impact on the development of landscape literature and its forms. The Xie Lingyun 謝靈運 school of landscape literature developed landscape writing into a dialogue between outer world and inner self, thereby giving it the emotionally expressive dimension which gradually became the hallmark of landscape literature. By contrast, an alternative form of dialogue in landscape writing that developed out of discursive fu has often been ignored by scholars, due to it being non-mainstream and represented by far fewer works. However, the existence of this branch of landscape literature opened up the possibility for alternative dialogues with the landscape, which therefore makes its features and key elements worthy of scholarly attention. Focusing on Liu Zongyuan's 柳宗元"Yu xi dui"愚溪對, and using his"Qiu shan fu"囚山賦 and"Tan quan dui"貪泉對 for comparison, this paper explores the imitative and creative context, examining Yu xi dui's status as a model example of a work that combines landscape writing and discursive fu. This paper also investigates the significance of its innovations in writing and the new dimension of emotional expression in the history of landscape literature and the writing of ci and fu.