---
title: "靈峰蕅益大師宗論 · 題邵石生集陶近體三則"
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/cmgn46ma50oyak1047f9nedsu"
---

### 題邵石生集陶近體三則

> Three Poems in the Modern Style Collected by Shao Shisheng from Tao Yuanming

古今奇絕詩文，無非各從良知變現，而昧者以為定屬古今，不知皆吾自心影也。故為詩文所用，不能善用詩文。此集真善用陶者乎？雖曰陶詩，實邵影耳。其一

> All the extraordinary poetry and prose throughout the ages has emerged solely from the manifestations of our innate conscience. Those who fail to understand this assume that these works belong to the past and present, unaware that they are merely reflections of our own minds. Consequently, they become tools used by poetry and prose, rather than using them well. Does this collection truly succeed in making good use of Tao Yuanming? Though it is called "Tao's Poetry," it is in fact Shao Yong's shadow self. (Note: First piece)

戛玉敲金，非以其工也；鎔凡鑄聖，非以其才也。苟壅其血脈，臂不能使腕，腕不能使指，況身外物乎？苟達其性情，龍可豢，虎可馴，況詩句乎？雖然，龍虎特易伏耳，不善用詩句，則詩句之怒，殆有甚於龍虎者矣。其二

> Carving jade and striking gold—this is not about technical skill. Melting the mundane and forging the sage—this is not about innate talent. If you block the blood vessels, the arm cannot command the wrist, and the wrist cannot command the fingers—let alone anything outside the body. But if you connect with their true nature, dragons can be tamed and tigers can be trained—let alone poetic lines. However, dragons and tigers are actually easier to tame; if you don't know how to use poetic lines, their anger can be far greater than that of dragons or tigers. <note place="inline">\[Section Two\]</note>

邵非不知自律也，集陶者忘其自也；邵非不知仍陶也，為律者忘其陶也。忘自，陶亦自矣；忘陶，自亦陶矣。天下有不忘而能用者乎？手忘故持，足忘故履，目忘故視，口忘故語。莊子云「魚相忘於江湖」，庶幾近之。夫忘其用，乃為大忘，亦忘其忘，乃為大用。邵君其當進於此乎。

> Shao Fei is not unaware of self-discipline, but those who shape pottery forget their own self; Shao Fei is not unaware of continuing to shape pottery, but those who make rules forget the pottery itself. When one forgets the self, even the pottery becomes the self; when one forgets the pottery, the self also becomes the pottery. Is there anything in this world that can be used effectively without forgetting? The hand forgets itself so it can grasp; the foot forgets itself so it can walk; the eye forgets itself so it can see; the mouth forgets itself so it can speak. Zhuangzi said, "Fish forget each other in the rivers and lakes"—this comes close to the idea. To forget the act of using is the great forgetting; to also forget the forgetting itself is the great function. Perhaps Shao Fei should advance to this level.