「沒蹤跡（Botsu syōseki）」的日本禪僧墨蹟（Bokuseki）：以宗峰妙超（Syūhō Myōchō）、一休宗純（Ikkyū Sōjun）的作品為例

The Japanese Zen Masters' Calligraphy Works (Bokuseki) "Without Footprint (Botsu syōseki)" : A Study on Syūhō Myōchō（宗峰妙超）and Ikkyū Sōjun（一休宗純）'s works

禪宗不立文字，卻是佛門諸宗當中，擁有最多文字記載的宗派；禪僧沒其蹤跡，卻在書法史上，留下別具特色的遺澤墨蹟。以元代的趙孟頫（1254-1322）為例，尚且留下寫給他的僧人老師「與中峰明本（Chūhō Minpon，1263-1323）尺牘」的代表作，但歷史洪流卻吞噬了中峰明本給趙孟頫的回信；而中峰明本的真跡，也只有日本保存了下來。「墨蹟」，中文語境只具備「手寫所留的原本」、「字畫真跡」等意義，轉為日文的「Bokuseki」，竟然專指禪宗僧侶的筆下芳澤。宋、元時代（相當於日本鎌倉時代）的僧人墨蹟，在日本得到了萬全的保存，並且影響了日本日常生活的方方面面（宗教、書法、茶道等各方面）甚距。本文以該時代的兩位具有代表性的禪僧宗峰妙超（Syūhō Myōchō，1282-1337）、一休宗純（IkkyūSōjun，1394-1481）為例，逐一介紹其書作，日本由於具備「禪僧墨蹟」的保存傳統，對於現代的書法表現，產生了不少的影響。

 

Zen Buddhism doesn’t adhere to characters, but leaves the most written records among all Buddhist schools; the Zen masters didn’t leave a footprint, but left unique heritages on the history of calligraphy. For instance, Chinese literati Zhao Mengfu（趙孟頫）left a significant work which was a written message to his master, The Letter to Chūhō Minpon（中峰明本）, but the response letter was drawn in history. Meanwhile, the authentic works of Cyūhou Minpon are only conserved in Japan.
In the Chinese context, the term “Calligraphy Heritage（墨蹟）” can only refer to “manuscript” or “the authentic work of paintings and calligraphies”. However, in the Japanese context, the term “墨蹟（Bokuseki）” specifically denotes the works of Zen masters. Their works in the Song and the Yuan Dynasty (Kamakura period in Japanese History) were perfectly conserved in Japan and considerably affected various aspects of everyday life, including religion, calligraphy, Teaism, etc. This article delves into the study of two iconic Zen Masters: Syūhō Myōchō and Ikkyū Sōjun. Based on one-by-one introductions to their calligraphy works, this study aims to narrate how did the tradition of Bokuseki conservation in Japan substantially influenced the calligraphic expression of the descendants.