有清一代，僧人為詩之風通貫前後，且僧詩與學術思潮藝文風氣多有互動，詩僧人數之眾、著作之豐、風格之多元，皆非前代可堪比擬，說清代是僧詩的黃金時代洵非虛語 。過去對於清代僧詩發展的歷史樣態不甚明晰，但隨著問世的相關文獻越來越多，雲霧已逐漸廓清 。若僅單純從著作出版的數量觀之，清代僧詩不僅不是衰落期，相反的，可以說是蓬勃發展的鼎盛時期 。 從詩僧著作出版的質量來看，清代前期幾乎可以說是中國僧詩發展歷程中的黃金時代，無怪乎引起批評家的高度關注 。但盛世之後難以為繼，歲月日漸承平，深沈的家國之思或久經離亂的傷痛已漸漸消失，僧詩的面貌隨同時代思潮的演變，也呈現不同的樣態 。清代中葉僧詩的質量，與清代前期的精彩多姿實不可同日而語 。清代中葉具有代表性的詩僧，北京拈花寺的慈海之外，仍以江浙一帶為主要根據地，例如明中大恒、巨超清恆、達受六舟、小顛、笠雲芳圃等人，此際濃厚的故國之思已成往事，傳統僧詩的居山離俗又有逐漸增強的傾向 。 清代中後期具有代表性的詩僧當中，明中大恆經歷顯赫，篆玉讓山則謙抑退讓，近乎隱者胸次 。巨超清恆法度井然，且風格多元，可謂詩僧旗手，達受六舟則類同學人之詩，以金石考訂題材入詩，可以說為僧詩別開天地 。四人之外，仍有許多作者值得深入研究，學界對此相關的研究極少，未來蘊含無限的潛能 。 During the Qing Dynasty (1644-1912), a custom of monastic poetry went through the whole dynasty, and such monastic poems resonated intensely with the scholastic atmospheres. Compared with former dynasties, the amount of monks writing poems, the abundance of their works, and the diversity of their styles in Qing are unprecedented. Qing Dynasty is the Golden era of monk-poetry without doubt. In the past, we knew little about historical context of development of Qing monk poetry. But with more and more related literature coming out, situation changed. If we simply consider the amount of publication, monastic poetry in Qing is not a period of declining, but the climax of development. By the quality of publications of poems of monks, early-Qing seems to be the Golden era of Chinese monastic poetry development, therefore provoke the high tension of critics, yet with peaceful days came, deep reminiscence of old country faded away. Along with the change of trend of time, monastic poetry shows different patterns. Consequently, the quality of mid-Qing monastic poems can not be compared to the brilliance in early-Qing, yet the scholarly did not know this period very well, so it is necessary to deepen the understanding the monastic poetry since the mid-Qing period. Referring to representative poets as monks in mid-Qing, in addition to Cihai 慈海 in Beijing Nianhua Temple 拈花寺, Jiangsu and Zhejiang were still the main base areas, e.g., Mingzhong Daheng 明中大恆, Juchao Qingheng 巨超清恆, Dashou Liuzhou 達受六舟, Xiaodan 小顛 and Liyun Fangpu 笠雲芳圃. At that time, the reminiscence of the old country has gone, and the mountain lodging tradition resurged again. Among representative monastic poets in mid- and late-Qing, Mingzhong Daheng had a career, Zhuanyu Rangshan 篆玉讓山 was like a hermit. Juchao Qingheng, considered the flag-bearer of monastic poems, his works demonstrated magnificence and diverse styles. Dashou Liuzhou's were more scholastic and covered epigraphic elements, pointing out an alternate way for monastic poetry. In addition to above-mentioned monks, there are still many monastic poets waiting for exploration. As related studies are rare now, it implies an unlimited potential in the future.
