This study aims to identify the origin of the Xiaoxiang Eight Scenic Spots and the landscape culture, which began in the Ding in the Northern Song Dynasty. The Eight Scenic Spots is the result of ‘the proprietary of natural space’, ‘human geographic expression of Xiaoxiang region’, and ‘Pingyuan landscape of Xiaoxiang region’. It is closely related to the landscape culture of the Tang dynasty. Particularly, Liu Zongyuan, who was relegated to Xiaoxiang region, and others tried to classify, name, and inscribe the natural landscape through ‘Bayu’ and ‘Baji’. It is the proprietary of the natural landscape indicated in the Eight Scenic Spots. Liu Zongyuan said that Xiaoxiang region was a remote area, 3,000 ri away from the capital, and the land of barbarian, and people of this region lived in the fog. The abundant wetlands and wide plains mostly match with the landscape of the Xiaoxiang Eight Scenic Spots. It can be said that the experience, sightseeing, and the portrayal of the scenery of Liu Zongyuan influenced the selection of the Eight Scenic Spots. Underappreciated feeling of Liu Zongyuan, which was described in ‘Yuxishixu’ and ‘Yongzhoubaji’ was in the same line with ‘enmity’ and ‘discharge’ images of Xiaoxiang region, accumulated in Xiaoxiang Eight Scenic Spots Figure. ‘Chicunqianli’, suggested by Liu ZongYuan in ‘Yongzhoubaji’, was connected to the artistic conception of Pingyuan landscape in Xiaoxiang Eight Scenic Spots Figure. Moreover, the ‘emptiness seek with spirit’ and ‘static seek with mental led to the ‘nihility and reality combining’ and ‘writing nihility in reality’ stages of Chinese landscape painting. Consequently, ‘Bayu’ and ‘Baji’ of LiuZongYuan spread to Xiaoxiang region beyond Yongzhou and met the Xiaoxiang Eight Scenic Spots.