本文主要以《本朝高僧詩選》與《和漢高僧詩偈抄》兩部僧選僧詩為討論對象，由此略窺江戶詩僧群像的大概。除此之外，江戶後期出現幾種大部頭的漢詩總集，例如《海內才子詩》、《熙朝詩薈》、《日本詩選》等鴻篇鉅製。特別是《熙朝詩薈》乃仿《明詩綜》之體例，方外部收錄上百名詩僧，數量之多，堪與比肩者恐不易見，欲論江戶詩僧，捨《熙朝詩薈》而論江戶詩僧，似無是理，且掛一漏萬之譏在所難免，但由於《熙朝詩薈》收錄詩僧逾百人，本文無法一一細究，又因六如慈周以後，詩風一變，檗宗詩僧角色與作用轉向明顯，是以就友野霞舟《熙朝詩薈》所收檗宗詩僧略加分析。希冀經由以上的進路，就江戶中期活躍的檗宗詩僧作品中的特色、意涵加以梳理，嘗試勾勒一個大致的圖像，希望能提供未來深入研究的基礎。

This article analyzes the masters' poems in Edo period and tries to construct a frame on the basis of two anthologies: Benzhao Gaoseng Shixuan (selected poems of Buddhist masters in Edo period) and Hehan Gaoseng Shijichao (selected poems of Buddhist masters in China and Japan). Besides, there are other Hanshi anthologies, such as Hainei caizishi, Xizhao shihui and Riben shixuan, in late Edo period. In these anthologies, Xizhao shihui, an imitation to Mingshizong, has contribute greatly to sketch the contours of poem-masters in Edo period due to its huge volumes. Considering the poetic style in Edo period changing obviously after Yikunyo Jisyuu, which implies the Obaku School had exerted profound influence at that time, hence, this article aims to explore the Obaku masters' documents collected in Tomono kashu's Xizhao shihui. From the above studies, we can offer a more clear picture and understanding of the Obaku masters in Edo period.