青山如故孰吟詩——晦山戒顯山居詩情與詩境探析

Poetic Emotion and Poetic Realm in Hui Shan Jie Xian’s Poerty of Mountain-dwelling

明清鼎革，晦山戒顯（1610-1672）以生員脫白，後為一代禪門尊宿。晦山歷住匡廬、雲居、靈隱諸名山大剎，嗣法三峰派健將具德弘禮（1600-1667），以毒辣禪風聞名於世。其《禪門鍛鍊說》援引戰爭概念思惟，以兵法喻鍛禪之方，備受學界關注。禪法精嚴外，三峰派夙以精擅詩文著稱，晦山戒顯亦不例外，惜其詩文世多不傳。近年晦山戒顯之語錄、詩文集於東瀛現其蹤跡。
自晦山詩文可見其卜隱匡廬遊諸名山大剎，登高山、訪前賢遺澤、敘寫佳景諸作，得到太倉名士吳偉業（1609-1672）、陸世儀（1611-1672）與徐增（1612-？）佳譽。本文先從諸文友視角論其詩才受當代所重，再以山居歌詠諸詩作中仰觀下視、覓古瞻禮與佛眼禪觀等三類視角隱喻詞彙為切入點，分析其作品內蘊銳意出世、志承法脈與禪觀定境之情志。用此論證晦山在遺民僧與禪門尊宿的身分外，別有殊特的文學詩僧樣態與生命情懷。

During the Ming-Qing transition, Hui Shan Jie Xian earned the xiucai bureaucratic title after which became a Chan master, dwelling in famous temples in Kuanglu, Yun Ju and Ling Yin Mountains. Inheriting the Dharma lineage of Jude Hongli, a prestigious monk of the Sanfeng School, Hui Shan was well-known for his vicious style of teaching Chan. The comparison between war and Chan shown in his The Book of Chan Exercise, has already attracted the attention of many researchers. In addition to intense Chan exercise, the monks of the Sanfeng School were remarkable for their exquisite literary works, including Hui Shan. Unfortunately, most of his writing was scattered and lost. Due to the large number of Buddhist documents from the Ming-Qing dynasty being recently published, Hui Shan’s only anthology of poetry and prose has been preserved in Japan, which allows us a glimpse into his high productivity. His poetry and prose, which were highly praised by his fellow men Wu Meicun, Lu Futing and Xu Zeng, reveal that he travelled around famous mountains and Buddhist temples, visited Buddhist heritage sites and wrote about beautiful landscapes during the period of living in seclusion in Kuanglu. This paper attempts to shed light on Hui Shan’s poetry of mountain-dwelling to reveal the uniqueness of his works. Taking as a starting point the conceptual structure of visual metaphor, it proposes three analytical approaches - gazing up and looking down, seeking the ancients and observing the rituals, and the Buddha's eye and the Chan insights - to discuss the metaphor used in Hui Shan’s works. His aspirations to leave secular life, to inherit the Dharma lineage of Jude Hongli and to excel in Chan practices all expressed in his poetry on mountain-dwelling can be observed from this perspective. Through this analysis, the paper argues that Hui Shan was not only a survivor and a Chan master, but was also an exceptional poet monk, who had deep passion for life.