策彦周良是日本战国时代入明僧，也是五山文学后期的巨匠。他的入明行旅诗歌，可见于《谦斋南游集》和《策彦和尚诗集》。它们的选编、整理和注解情况不同，可形成互相参考的关系。策彦周良入明行旅诗歌的创作，在形式方面，受到《三体诗》“实”、“虚”理念的影响，注重实景描摹，诗歌结构谨严，诗意流畅自然。在内容方面，史学色彩较为浓厚，典故叠出。明朝风景在策彦周良的诗歌中，既有共同想象成分，又有游历时的个人见闻，兼具创造和再现两种方式。诗歌以京杭大运河沿岸各地的风景为线索，形成主要的审美空间。在策彦周良的考察、比较和衡量心态下，入明行旅诗歌反映出更具有日本意识的审美眼光，表现出策彦周良在外交使者、禅僧、诗人和儒者多重文化身份下的审美情绪转化。

Sakugen Shuryo is a Japanese diplomat with rich experiences in the Ming dynasty, and is also a master of the later part of the Wushan literature. His poems on his journey to the Ming dynasty can be found in Qian Zhai South Tour and Sakugen Monk’s Poetry Collection. Their selection, compilation, and commentary are different so they can form a cross-reference relationship. Sakugen’s composition, in terms of form, is influenced by the concepts of “real” and “virtual” from Three Style poems, thus he pays attention to the depiction of real scenes, the strict structure, and the natural poetic flavor. While in terms of content, his poems present an intense consciousness of historiography. The scenery of the Ming dynasty in Sakugen’s poems includes both the imaginative elements and his personal experiences, with the methods of creating and representing. The poems are based on the scenery along the Grand Canal from Beijing to Hangzhou, forming the major aesthetic space. Under the attitude of investigation, comparison, and measurement, Sakugen’s Japanese aesthetic vision is even more prominent, showing that the transformation of aesthetic emotion under his multicultural identity as a diplomat, Buddhist, poet and Confucian.