五山诗僧的二度隐逸:官寺与山水、书画之间

The Second Seclusion of Gozan Poet-Monks:Between Official Temple,anc Landscape,Calligraphy and Painting

五山诗人都是佛教僧侣,应当是彻底隐逸的诗人。但是他们渴望隐逸,赞美中国的隐逸诗人,将五山诗人的僧侣世界与隐逸处理成了二元对立的关系。其原因是五山禅寺为官寺,官寺的僧人并不是单纯的禅僧。如何处理官寺与幕府、朝廷之间的关系,是五山诗僧需要面对的问题。这说明需要二度隐逸。瑞溪周凤二度隐逸的方式就是不执着、不滞留,但执着于书画与山水,正因为存在这种矛盾,才不断地吟诵隐逸。

Gozan poets were Buddhist monks and should be completely reclusive poets.But they yearned for seclusion,praised Chinese reclusive poets,and treated the monks'world and the seclusion of Gozan poets as a binary opposition.The reason is that Gozan Buddhist temples were official temples,and the monks in the official temples were not pure Zen monks.How to deal with the relationship between the official temple,the shogunate and the imperial court was a problem that Gozan monks needed to face.This shows the need for a second seclusion.The way of Zuikei Shuho's second seclusion was no persistence and no retention,but persistent in calligraphy,painting and landscape.It is precisely because of this contradiction that he constantly chanted seclusion.