宋元飛來峰詩作深具佛禪氛圍，自南宋靈隱寺住持大慧宗杲提倡「看話禪」後，導致文人思維的理性化趨勢，促成文學與佛學之融攝。本文先就飛來峰自然山勢與天竺傳說為論，分析文人之觀看視角，再以宋元看話禪之起疑思量，推究源於「公案禪」、下啟「無門禪」的看話禪，如何帶動文人窮理探究的態度，使山水描繪，由主觀情意投寄，轉變為客觀事理判斷。就杭州飛來峰諸作觀之，文人「以禪入詩」所引之禪，乃是過渡文字禪、抨擊默照禪，有理有據的「理性之禪」，從詩禪交涉的理路來看，宋後靈隱寺飛來峰諸作實為「援禪入理」，由此得以探討文人、禪僧於理性思考方式之轉折、靈隱禪風於作品中的禪境營造，以及佛教文學中的「理禪融攝」現象。

Fei-lai Peak poems in the Song and Yuan dynasties have a deep Buddhist and Zen atmosphere. Since the abbot of Ling-yin Temple, Dahui Zonggao, advocated “Kan-hua Chan (the Chan method before talk)”, it has led to the rationalization of literati thinking and contributed to the integration of literature and Buddhism. This article first discusses the natural mountains of Fei-lai Peak and the legend of India Tian-zhu, analyzes the viewing angle of the literati, and then discusses the content of the skepticism of Kan-hua Chan from the handover period of the Song Dynasty. The literati's attitude of inquiring into the rationale has changed from subjective sentimental posting to objective judgment on landscape depiction. Judging from the works of Fei-lai Peak in Hangzhou, the Zen method cited by the literati “using Zen into poetry” is a “rational Zen” that transitions Wen-zi Zen, criticizes Mo-zhao Zen, and is justified and based. Therefore, it discusses the change of the literati's rational thinking method, the creation of the Zen style in his works, and the phenomenon of “The Blending of Principles and Zen” in Buddhist literature.