南屏诗社两诗僧论

On the Two Monk Poets in Nanping Poetry Club

释篆玉和释明中是清代杭州南屏诗社的重要成员,也是浙派诗僧的代表人物。释篆玉的诗,多写杭州的湖光山色,以"清""幽""静""旷"为主调,着意表达"独"而不"孤"的趣味,善于将宗教实践融入日常生活或者自然山水,力求臻于无迹可求的境地;在自我形象的塑造上,忠臣、孝子、士大夫、庶民的情怀时有呈现,但"闲僧""懒僧"仍是释篆玉诗中占主导面的、高层次的形象。释明中有相当明确的"作诗"意识,他的诗歌对于"作诗"的题材、取法、过程、心态等都有细致的表现;在清寂冷僻的诗风方面,他比释篆玉走得更远,诗风更具有多样性,"冷""暖"并存,且有各臻其极的倾向。

Shi Zhuanyu and Shi Mingzhong are important members of Nanping Poetry Club in Hangzhou in the Qing Dynasty,and they are also the representatives of the monk poets of Zhejiang School.Shi Zhuanyu’s poems mostly describe the scenery of Hangzhou’s lakes and mountains,taking"quietness","peace","remoteness"and"wildness"as the main tone,expressing the interest of"being alone"instead of"being lonely",being good at integrating religious practice into daily life or natural landscape,striving to reach a place where there is no trace to be found;in the shaping of self-image,the feelings of loyal officials,filial sons,scholar officials and common people sometimes appear,but"leisure monk"and"lazy monk"are still the leading and high-level image in the jade poetry of the hermeneutic seal script.There is a clear sense of"composing poems"in Shi Mingzhong.His poems show the theme,method,process and mentality of"composing poems"in detail.In the quiet and remote style of poetry,he goes further than Shi Zhuanyu,and the style of poetry is more diverse.The"cold"and"warm"coexist,and each has its own extreme tendency.