作品向來予人典雅、浪漫印象的蕭麗紅，是台灣當代女性作家中經常被討論的一位。和一般作家不同的是，篤信佛教的蕭麗紅常常以佛教思想做為小說人物的價值觀。 將佛教思想寫入小說中並非少見，但是如《白水湖春夢》如此大量引用佛教經典、詩偈，且提到這麼多佛門僧侶的小說實非多見。倘若蕭麗紅的創作實力不是如此堅強，這樣的創作很可能流為「為宗教服務」；又倘若不是蕭麗紅對於佛法的體會頗深，能夠隨著小說的情節「嵌入」佛法，如此大量的佛學名相又很容易「減弱」文學本身的感動力、小說人物的生命張力。 《白水湖春夢》在蕭麗紅充滿魔力的筆下，不僅未落入上述兩個創作困境，反倒因為特有的筆觸和題材而煥發文學與宗教邂逅的魅力，本文擬考察蕭麗紅在《白水湖春夢》中的禪淨書寫。

Li-Hung Hsiao, whose literary works always impress readers with elegant and romantic traits, is one of the most discussed Taiwan female writers of this generation. Different from other writers, Hsiao believes in Buddhism deeply and usually creates the roles in her novels with the values of Buddhist thoughts. Although it is common to find a novel with Buddhist thoughts, it is rare to find one quoting such a huge number of Buddhist Sutras and mentioning so many monks as in Pai-Shui-Hu-Chun-Meng. If Hsiao was not so good at writing, this kind of writing style could become preaching. Or if Hsiao did not realize Buddhism well, a lot of plots within Buddhist perspectives in the novel might easily lower the literary inspiration. Due to Hsiao's excellent writing skills, the two possible difficulties that might occur as mentioned above did not turn into a problem. On the contrary, the unique viewpoints and subject matters have successfully attracted a lot of readers to feel the religious atmosphere through this literary creation. This article aims to discuss the Zen and Pure-Land writing of Hsiao's novel Pai-Shui-Hu-Chun-Meng.