---
title: "靈峰蕅益大師宗論 · 鄭千里老居士集序"
description: "靈峰蕅益大師宗論是明末高僧智旭的著作。明末佛教面臨內部僵化與外部挑戰，智旭大師立足天台宗，主張禪教律淨融合，回應時代弊病。該書匯集其書信、註疏與開示，系統闡述性相融通、淨土為歸的佛學思想，強調解行並進與實踐修行。作為中國佛教史上承先啟後的巨著，它深刻影響了後世漢傳佛教的發展，尤其對淨土宗的推廣貢獻卓著，被尊為淨土宗第九祖的智旭，其思想透過此論成為明清佛教的重要指南。"
url: "https://rushiwowen.co/en/r/cmgn46k3s0opdk104gvc5ey39"
---

### 鄭千里老居士集序

> Preface by Elder Zheng Qianli

人不立志為聖賢佛祖，則富貴淫之，貧賤移之，威武屈之，遇得意欣然志滿，遇失意紛然怨尤，求能自反自訟自安自得者鮮矣，況隨事自覺覺他也哉。吾細讀千里老居士稿，知其非山人詞客，蓋謫仙而歸心大覺者也。生平繪普門像最多，像必有讚，布袋像亦然，讚必警發迷情，其詞切至，令人毛骨悚然。次多達磨像，像讚必敲擊向上一路，令人因指見月。繪山水必詠，詠皆清脫，迥超情累，非詞句能到也。而予尤服膺者，則在自勸自警自悔自咎諸句，良以其心念念欲入山修道，幻緣未遂，不免齎志長往。嗚呼，苟不與老居士同一出世胸懷，安知其生平之苦？苟不知其生平之苦，又安知其真思出世哉。長公完德，知父志，令予次其稿傳之，首普門讚，次布袋讚，次達磨讚，次題畫諸詩，其他鞭影圖，天鼓音圖等，繡棗別行，茲不重出，試展玩之，真謫仙歸心大覺，決非世閒山人詞客也。嗚呼！佛道長遠，只在目前，雖在目前，曠大劫行，終不可盡。世有不知其難者，恐未曾實悟其易者耳。千翁已知其難，雖欲不謂之已悟其易，豈可得乎？善論人者，謂千里品格丰致，不在與可南宮下也。

> If a person does not set their aim on becoming a sage, worthy, or enlightened being, then wealth and honor will lead them to arrogance, poverty and lowliness will make them waver, and power and force will make them yield. When things go well, they become complacent and smug; when things go wrong, they are full of resentment and blame. It is rare to find someone who can truly reflect on themselves, examine their own faults, find peace in their own heart, and be content. How much rarer is it to find someone who, in every situation, awakens themselves and then awakens others? I have carefully read the draft manuscripts of Elder Qianli and know that he is no mere mountain recluse or poet. He is, in truth, a celestial being who has returned to the path of Great Awakening. Throughout his life, he painted more images of the Universal Gate (Pumen) than anything else, and every painting was accompanied by a verse of praise. The same is true for his paintings of the Cloth-Bag Monk (Budai). These verses are always designed to startle and awaken the deluded mind. Their words are incisive and profound, enough to make one's hair stand on end. Next in number are his paintings of Bodhidharma. The verses accompanying these always strike at the path of direct transcendence, guiding people to see the moon by pointing at the finger. Whenever he painted landscapes, he would compose poems; these poems are all pure and free, far exceeding worldly attachments in a way that mere words cannot reach. But what I admire most are the lines where he urges, warns, regrets, and blames himself. This is because his mind was constantly yearning to enter the mountains and cultivate the Way, yet his karmic conditions for this were not fulfilled, and he ultimately passed away with his aspiration unfulfilled. Alas! If one does not share the same transcendent mindset as Elder Qianli, how could one understand the hardship of his life? And if one does not understand the hardship of his life, how could one know the true depth of his longing to transcend the world? His eldest son, Wande, understanding his father's wish, asked me to arrange these manuscripts and pass them on. The collection begins with verses on the Universal Gate (Pumen), followed by verses on the Cloth-Bag Monk (Budai), then verses on Bodhidharma, and finally the poems inscribed on paintings. Other works such as "The Whip of Shadows" and "The Sound of the Heavenly Drum" have been published separately as woodblock prints and will not be reprinted here. If you open and examine it for yourself, you will see that he is truly a celestial being who has returned to the Great Awakening, and by no means an ordinary mountain recluse or poet. Alas! The path of the Buddha is vast and timeless, yet it is right here before our eyes. Even though it is before our eyes, the journey of countless eons can never be completely exhausted. Those in the world who do not understand its difficulty may never have truly realized its ease. Elder Qianli understood its difficulty. Even if one wanted to say that he had not already realized its ease—how could that be possible? Those who are skilled at judging people say that Qianli's character and artistic style are in no way inferior to the likes of Mi Fu or Wen Tong.