围棋“雅化”指的是围棋被历代知识分子言说、吟咏，从而不断被赋予各种正面的文化内涵，从游戏升格为教养的过程。雅化主要发生在围棋的形象层面而非技术层面，从文献类别而言，雅化主要出现在围棋主题的艺文而非技术性的棋书中。故雅化研究本质上属于围棋形象的研究，即文学作品中所表现的围棋。跨文化的雅化研究实质即是比较文学。本文试以围棋文学的一个重要主题——“四晧·橘中”传说——为个案，梳理其在中日的流变，揭示其中体现的中日围棋雅化过程的异同并探讨其文化背景。

“四皓·橘中”传说实际上是“四皓围棋”、“橘中乐”和“四皓橘中”三个系统的总称。其中“四皓围棋”、“橘中乐”原本各自独立，宋代以来逐渐融合产生出“四皓橘中”这一新的系统。但原本两个系统并未全被融合，而是继续独立发展，呈现三个系统并立的情况。从文化属性而言，三个系统总体上偏向“仙隐”。

“四皓·橘中”传说被日本接受，并涌现于中世五山文学中。上述三个系统在五山文学中都有所继承，但各系统之间的比重和中国文学不同。从整体文化属性而言，五山文学中的“四皓·橘中”传说更趋于“高隐”而非“仙隐”。此外，五山僧最大的创新在于从“以佛释仙”的立场出发，运用中国佛教中“因棋说法”的话语资源，重新阐释了“四皓·橘中”传说，在“仙隐”和“高隐”之外赋予其新的佛法意义。在五山僧的阐释中，隐于商山或橘中并不重要，围棋也不仅仅是一种高雅的消闲方式，借由“棊隐”达致空有不二的大乘境界才是最终的归旨。这正体现了五山僧独特的二元围棋观：既接受了中国主流的围棋雅化方式，又坚守了佛教本位，使得佛教话语成为日本围棋雅化的重要传统。

The "Refinement" of Go refers to the continuous enrichment of various positive cultural connotations giving to the Go by generations of intellectuals, who discuss and extol it, thus elevating it from a mere game to a kind of cultivation. This Refinement primarily occurs at Go's image rather than its technical aspects. In terms of genre, Refinement mainly appears in literary works related to the Go rather than technical books on the game. Therefore, the study of the Refinement is essentially the study of the image of the Go, which is the portrayal of Go in literary work. And the cross-cultural research of the Refinement is essentially the study of the comparative literature. This article attempts to take an important theme in Go literature—the "Sihao-Juzhong"legend —as a case study to delineate its Transformation in China and Japan, reveal the similarities and differences in the process of Go's Refinement between China and Japan, and explore its cultural background.

The legend of "Sihao-Juzhong" is actually a collective term for three systems: "Si Hao Wei Qi," "Ju Zhong Le," and "Si Hao Ju Zhong." Among them, "Si Hao Wei Qi" and "Ju Zhong Le" existed independently at the beginning, gradually integrated and gave birth to the new system of "Sihao-Juzhong" since the Song Dynasty. However, the two original systems were not fully disappeared but continued to develop independently, resulting in a situation where the three systems coexisted. In terms of general cultural attributes, the three systems are close to "Xian Yin."

The legend of "Sihao-Juzhong" was accepted by Japan and emerged in the literature of the medieval Five Mountain period. The above-mentioned three systems are all inherited in Five Mountain literature, but the proportions between systems differ from those in Chinese literature. In terms of overall cultural attributes, the legend of "Sihao-Juzhong" in Five Mountain literature tends more towards "Gao Yin" rather than "Xian Yin." In addition, the greatest innovation of the Five Mountain monks is that they reinterpreted the legend of "Sihao-Juzhong" in perspective of "Yi Fo Shi Xian" and used the intellectual resources of Chinese Buddhism to give it new Buddhist meanings beyond "Xian Yin" and "Gao Yin." In the interpretation of the Five Mountain monks, being hidden in Shangshan or Ju Zhong is not important, and  the Go is not just an refined leisure activity, that reaching the supreme wisdom of the Buddhism through "Qi Yin" is the ultimate goal. This reflects the unique dualistic view of the Go by the Five Mountain monks: accepting the mainstream Chinese way of the  Go’s Refinement while adhering to the Buddhist foundation, which made Buddhist discourse an important tradition in the Japanese Refinement of the Go.