黃庭堅創作的「香詩」為宋詩帶來主題、功能、思想等多維度的新變， 是將「元祐體」帶向詩史中區別於唐詩的宋詩典範。他熱衷於「香方」的搜 求、配製，致力於提升香方的精神內涵，推動了北宋後期持續的香方熱。區 別於中古佛教諸宗「香供、香使、香塵、香毒」的舊形象，黃庭堅取資唐宋 以來嶄新的禪思想資源，發明了以焚香為途徑的禪修新法，創立了獨屬於宋 型文化的「香禪」形象。上述唐宋轉型，催生了東亞香史上的關鍵著作即洪 芻《香後譜》的誕生。而蘭坡景茝、萬里集九等日本室町時代五山僧，又以 「山谷抄」此類黃庭堅詩歌的註釋、講義為途徑，通過研究、講授山谷詩， 將宋代香事的某些觀念，傳遞給了作為日本香道之祖的三條西實隆等貴族知 識精英，對日本香道成立初期的內涵產生過不小的影響。

“Incense poetry,” innovated on by Huang Tingjian 黃庭堅 (1045-1105), has brought multi-dimensional changes to Song Poetry ranging from theme and function to literary thought. It is both typical of Yuanyou style 元祐體 and distinguishes Song Poetry from Tang Poetry. With intense enthusiasm, Huang Tingjian explored “incense prescriptions” and dedicated himself to the broadening of its spiritual implications, which led to the enduring popularity of “incense prescriptions” during the late Northern Song dynasty. Derived from ideological resources of Zen thought popular since the Tang and Song dynasties, Huang Tingjian’s new notion of meditation differed from previous forms seen during the Middle Ages, such as “incense offerings,” “incense envoys,” “incense defilement” and even “incense poison.” Huang created a Song-style “incense Zen” by inventing a new meditation method which involved burning incense. This Tang-Song transition gave birth to Hong Chu’s 洪芻 (1066-1127?) Incense Post-Manual 香後譜(Xiang hou pu) , which became established as the seminal work in relation to the history of incense in East Asia. During the Muromachi period (1336-1573), Banri Shūkyū (1428-1507?), together with other Japanese Zen monks of the Five Mountains, annotated Huang Tingjian’s poems and established “Sankokusyo 山谷抄.” Through the teaching of Huang’s works, they introduced several concepts concerning song incense to aristocratic elites, such as Sanjōnishi Sanetaka (1575-1640), a forefather of Japanese Kōdō (Way of Fragrance), which had a significant impact on Japanese Kōdō at the very beginning of its development.