---
title: "布水臺集 · 旅堂集序"
description: "布水臺集是明末清初高僧道忞所著的一部别集，收录于中央图书馆善本书目集部别集类。道忞禅师是临济宗高僧，明末遗民，清初应顺治帝召请入京，对清初佛教政策有重要影响。该书汇集了他的诗文、法语、书信等作品，内容涉及禅宗思想、修行体悟、时事感怀及与士大夫的交游，是研究其生平、明末清初佛教史及禅宗思想的重要文献。作为明清之际佛教著述的代表，布水臺集不仅展现了高僧的文学修养与禅学境界，也为后世理解该时期佛教与社会的互动提供了珍贵史料。"
url: "https://rushiwowen.co/en/r/cmgn0x1tf1362jl04d3lok54d"
---

### 旅堂集序

> Preface to the Travel Hall Collection

諸佛如來有十身相海，具足十華藏世界海微塵數大人相，一一相具足十不可說佛剎微塵數功德，乃諸德相不逮音聲之一，則又何也？豈非波騰四辯、舌覆三千，廣為有情示教利喜之所致與？使非梵音深妙令人樂聞，則說者雖無倦，聽者且猒生，欲其剖迷開覺而成就慧身也不亦難乎？此語言辭說，文身、句身之大有造於生人，而世出世間，若聖與仁，卒無能躍冶而外斯文者。所以能仁標號徽著迦文、尼山自命斯文在茲，五地稱雅思，淵才文中王。由是觀之，文之為道，至人得之可以化裁天地，陶鑄萬靈；英賢得之可以鼓吹休明，煇煌治道；處仁由義之君子得之可以興孝作忠、見君父於風雨晦明之候。劫波遠而可跡、古聖往而可追，則莫非文之所為。然而有文情、有文致、有紀律、有聲調、有肌有骨、有蒼茫之色。有澹遠之神，組織萬端、機杼百出，豈僅區區善讀三墳、五典、八索、九丘者之未可窺藩？即使泛博望之仙槎、馳穆王之八駿，投荒覽遠、選勝蒐奇，山閱須彌高、樹徵閻浮大，魚睹千里鯤、鳥覘萬里鵬，而心靈眼活無與焉！則亦多聞障智，浮識亂真，又安能手抉雲漢，幻出天韋，大中現小，小中現大，入無間出無方，語於作者之林哉？

> All Buddhas and Tathagatas possess the Ten Bodies and Ocean of Marks, fully endowed with the number of great marks equal to the dust motes in ten Flower-Treasury world systems. Each mark is endowed with merits beyond reckoning, like the atoms of countless Buddha-lands. Yet even these marks cannot compare to even one quality of the voice of the Buddha. Why is this? Is it not because the Buddha’s eloquence flows like surging waves, and his tongue covers the three thousand worlds, widely teaching and delighting sentient beings? Were it not for the profound subtlety of the Buddha’s voice that brings joy to all who hear, the teacher might never tire, but the listeners would grow weary. In that case, how could they break through confusion, open their enlightenment, and realize the body of wisdom? Thus, language and speech, embodied in the forms of phrases and sentences, are of great benefit to human beings. In both worldly and transcendent realms, no one—whether sage or worthy—can step beyond this web of words. This is why the Enlightened One is hailed as “Kāśyapa” and “the Joy of Speech,” why Confucius declared that culture resides in him, and why the fifth-stage Bodhisattva is praised as “Elegant Speech” and “King of Texts.” From this we can see that the Way of Writing, when attained by a sage, can transform heaven and earth and shape all beings. When attained by a hero of virtue, it can glorify the way of governance and illuminate civilization. When attained by a righteous and benevolent person, it can inspire filial piety and loyalty, enabling one to recognize the father and ruler amid the storms of life. Through writing, distant eons become traceable, and ancient sages become approachable—all this is the power of writing. Yet writing has its emotions, its artistry, its discipline, its rhythms, its flesh and bones, its hue of vastness. It possesses a spirit of serene distance. Weaving countless strands and revealing myriad patterns, it cannot be comprehended by those who merely read the ancient classics—the Three Tombs, Five Canons, Eight Suos, and Nine Mounds. Even if one were to sail on the celestial raft of the Star-Herald, ride the eight steeds of King Mu, explore remote wastelands, seek out wonders, behold Mount Sumeru in all its height, witness the vastness of the Jambu Tree, see the giant Kun fish spanning a thousand miles, and observe the Roc soaring ten thousand leagues, without an alert mind and discerning eyes, such knowledge would only hinder wisdom with mere erudition and confuse truth with superficial insight. How could such a person grasp the celestial artistry of writing—the skill to pluck the Milky Way, conjure divine patterns, reveal the vast in the small, and the small in the vast, entering where no gap exists and emerging without limitation—and truly rank among the masters of composition?

錢唐為西浙名區，湖山靈淑秀發人文，至若生知夙慧則未有如彥遠胡君之獨擅其美者也。楊億之才成七歲、禰衡之學富髫年，所謂天授非人力矣！乃追風驥足困躓鹽車，未得一騁其萬里騰驤之步，而星辰早已易位，日月旋復無光。君由是任情丘壑，銳志禪思，既汲幽以造玄，亦知微而之顯。故得語言深臻三昧之海、文字大入總持之門，筆陣排雲天，詞波倒三峽。其往也莫可遏，其來也莫可知，可拈莖艸化金身，可即毛端吞巨海，況復風雨之思、雞鳴之感，慮無不可見君父而敦彝倫者？豈若介甫之禪觀，徒得句于胡笳十八拍之為愉志哉？

> Qiantang was a renowned region in West Zhejiang, known for its beautiful lakes and mountains that nurture refined culture and talent. Yet no one surpassed Hu Yanyuan in possessing innate wisdom from birth and natural intelligence. Yang Yi could compose at seven, and Mi Heng was learned in early youth—such were gifts from heaven, beyond human effort! But like a swift steed pulling a salt cart, he never had the chance to gallop ten thousand miles before the constellations shifted and the sun and moon dimmed. So he retreated to the hills and valleys, devoting himself to Zen reflection, plumbing the profound and exploring the subtle, uncovering hidden truths and bringing them to light. Thus his words deeply entered the ocean of samadhi, his writings opened the gate of total retention. His brush formations parted the clouds of heaven, and his poetic waves overturned the Three Gorges. When it came, nothing could stop it; when it left, none could grasp it. He could turn a blade of grass into a golden body, or swallow the great ocean with a single hair tip. Moreover, in moments of wind and rain, at the cry of the cock at dawn, no thought of his was unsuitable for serving his sovereign or strengthening family bonds. Could he be compared to Wang Anshi's Zen insights, which only took pleasure in the lines of "Eighteen Beats of the Tartar Flute"?

余嘗上下古今竊謂：「昌黎、永叔之文，可以入事不可入理；明道、晦菴之文，可以入理不可入事。入事理而無礙者，其惟大蘇乎！」于君亦云故君始可與言文，而《旅堂集》之文，夫是以謂之文也。

> I have long examined writings ancient and modern, and I have come to believe: "The prose of Han Yu and Ouyang Xiu is suitable for describing worldly affairs but not for conveying principles; the prose of Cheng Hao and Zhu Xi is suitable for conveying principles but not for describing worldly affairs. The one who can handle both affairs and principles without hindrance—that is Su Shi alone!" Master Yu would agree, which is why he is the only one with whom I can truly discuss writing. As for the prose in the \*Collection of the Traveling Hall\*, that is what I call true literature.