本文以《楚辞》为研究对象，对其中涉及的神话素材加以审辨，析分出以“不周”、“昆仑”为代表的两种神话地理观念，并对其由分到合的演化线索予以勾勒，进而以之为基础，对《离骚》中灵均两次“周游”反映的空间观念、《九歌·东皇太一》中“东皇”一名的方位涵义、《远游》《离骚》《大人赋》及汉代《楚辞》作品中的空间观念之异同、《招魂》反映的巫教思想及空间观念，进行分析和比较。结论认为，战国之时（可能延至西汉初年），流行过一种以“大九州”的地理观念、“九天”的天文观念及统合了不周、昆仑的神话地理观念为构成要素的宇宙图式（空间观）。就《楚辞》作品来说，《离骚》《九歌》体现了该图式，《远游》与汉代《楚辞》作品则未体现（结合相关材料，本文推定《远游》的写作时间约在秦汉之际）。《招魂》反映了“民神不杂”的巫教思想及与之相应的空间观念。综合《招魂》与《离骚》中的空间观，不仅可以见出《楚辞》作品中相对完整的空间观，而且对战国、汉初“墓画”的图像解读具有参考意义。《楚辞》还涉及古史的素材。本文利用传世文献、出土文献及近人论著，对秦公一号大墓出土石磬铭文中的“高阳”、新蔡出土楚简中的“祝融”等名号的旧有考释重加考辨，同时，对《国语·楚语》《郑语》、《史记·楚世家》等传世文献中有关楚世系的记载加以辨析，进而在上述研究的基础上，对自清代学者崔述以来有关古帝高阳、颛顼合称的论述提出新的看法。结论认为，石磬铭文中的“高阳”不具备宗祖神的特征，其身份是“灵神”，亦即上帝的佐神，其被牵合进楚世系当在楚共王之后。重黎、颛顼初非楚先祖，其被牵合进楚世系是在楚昭王之后。在屈原所处时代，颛顼、高阳皆被纳入楚世系，但是否已将二者牵合则尚难遽定，正式牵合二者的表述或可追溯到战国末年。汉代《楚辞》作品涉及的素材包括由神话延伸出的变体——仙话。本文结合传世文献和出土画像、镜图、镜铭等资料，考察了“二子拥瑟”（《惜誓》）和“仙者骑鹿”（《哀时命》）形象的演进过程，进而结合古本《楚辞》的成书过程对《惜誓》和《哀时命》的写作时间做出一些推定。结论认为，“二子拥瑟”形象是受《韩非子·十过》、《逸周书·太子晋解》的影响虚构而成，《惜誓》的写作可能是在刘向之后。由目及的材料看，“仙者骑鹿”形象的出现可以追溯到两汉之际，《哀时命》的写作可能是在其时或其后。

The paper attempts to research on Ch'u tz'u 《楚辞》. Ch'u tz'u involves amount of materials which belong to myths. In the paper, I distinguish Buzhou 不周and Kunlun昆仑as the representatives of two main geographical notions of mythology, and check out the evolutionary clue of these two geographical notions from independent to merged. Then, on the basis of the research above, I analyze and compare the spatial viewpoint reflected by Divine Balance 灵均 ’s twice Tours 周游 in Li Sao 《离骚》, the spatial meaning of “God of the Eastern Sky”东皇太一 in Chiu Ko 《九歌》, the spatial viewpoint contained in Yüan Yu 《远游》, Li Sao and poems of Ch'u tz'u written in Han dynasty, the religious thought and the spatial viewpoint reflected in Chao Hun 《招魂》. Conclusions can be drawn as follows: During the Warring States period, there is a cosmic scheme which consists of the geographical notion of the Enlarged Nine Lands of the earth大九州, the astronomical notion of the nine divisions of Heaven九天, and the myth notion of pillars of Heaven天柱to which both Buzhou and Kunlun belong. In poems of Ch'u tz'u, this cosmic scheme is refleceted in Li Sao and Chiu Ko, but not reflected in Yüan Yu and poems of Ch'u tz'u written in Han.Combining with related materials, the paper presumes the writing time of Yüan Yu is between the end of Qin秦（after 215 BC）and the early years of Earlier Han. Chao Hun reflected the religious thought that “people and gods are separated”“民神不杂”and the peculiar spatial viewpoint corresponding to it. Synthesizing the spatial viewpoints refelected in Li Sao and Chao Hun is not only conductive to getting the relatively complete spatial viewpoints in Ch'u tz'u, but also conductive to interpreting the meanings of silk paintings made in the Warring States period and the early years of Earlier Han. Ch'u tz'u alao involves materials that belong to ancient history. To analyse these materials, I use handed down documents, unearthed documents and the reserch results put forward by scholars ancient, modern and contemporary. To be specific, on one hand, I attempt to re-examine the interpretation of Gao Yang高阳 in the inscriptions of the stone Qing石磬 unearthed from the No.1 tomb of Qin Gong秦公一号大墓 and the interpretations of Zhu Rong祝融 in the bamboo slips of the Chu State楚简, on the other hand, I differentiate and analyse the materials about the pedigree of Chu in Guo yu · Chu yu 《国语·楚语》, Zheng yu 《郑语》and Shi ji · Chu shi jia《史记·楚世家》, then on the basis of the research above, propose new views about related treatises on ancient emporors Zhuan Xu颛顼and Gao Yang. Main conclusions are as follows: The idea that Gao Yang is ancestor of Chu appears after King Gong of Chu楚共王era, and the idea that Zhuan Xu is ancestor of Chu appears after King Zhao of Chu楚昭王era. In the era Qu Yuan屈原 lived in, Gao Yang and Zhuan Xu are both regarded as ancestor of Chu, but it is not certain whether Gao Yang and Zhuan Xu are regarded as the same in that era. According to relevant documents, the combination of these two names into one can be traced back to the end of the Warring States period.As an extension of myth, the immortal tales are involved in the poems of Ch'u tz'u written in Han dynasty. So, in the paper, I discuss the image that “Wang Qiao and Red Pine hold zithers and tuned in perfect concord”“二子拥瑟而调均”in Ch'u tz'u · His Shih 《楚辞·惜誓》and the image of the immortal riding a deer仙者骑鹿in Ch'u tz'u · Ai Shih Ming 《楚辞·哀时命》by analyzing the handed down documents, pictures or rubbings from unearthed stone relief, patterns and inscriptions on the bronze mirror, then presume the writing time of His Shih and Ai Shih Ming. Main conclusions are as follows: The image that Wang Qiao and Red Pine hold zithers and tuned in perfect concord is created under the influence of relevant descriptions in Hanfeizi · Shiguo 《韩非子·十过》and Yi zhou shu · Tai zi jin jie 《逸周书·太子晋解》, the writing time of Ch'u tz'u · His Shih may be after the time Liu Hsiang 刘向collates Yi zhou shu. The appearance of the image immortal riding a deer can be traced back to the time between the end of Earlier Han and the beginning of Later Han, the writing time of Ch'u tz'u · Ai Shih Ming may be after the end of Earlier Han.