Yán Yǔ 嚴羽 (zì Yíqīng 儀卿, alt. Dānqiū 丹邱, hào Cānglàng-bū-kè 滄浪逋客 “Lay-Recluse of the Blue-Green Wave”) was a native of Shàowǔ 邵武 (modern Fújiàn), active in the early-to-mid thirteenth century. With Yán Rén 嚴仁 and Yán Cān 嚴參 he was known as the “Three Yáns” of Shàowǔ, but only his collection survived. CBDB has no firm dates; his floruit is conventionally placed in the Shàodìng–Chúnyòu reigns (c. 1195–c. 1245). His towering reputation rests almost entirely on the Cānglàng shīhuà 滄浪詩話 — included in the WYG Cānglàng jí but transferred by the Sì-kù editors to the Shīwén-píng 詩文評 category as a classic of poetics. The shīhuà organizes its argument around the analogy between Chán Buddhism and poetry, distinguishing between the “first-truth” poetry of the Hàn–Wèi–Jìn–Gāo-Táng masters, the “lesser-vehicle” Dà-lì poetry, and the śrāvaka–pratyekabuddha fruits of Late Táng. His doctrine of “miào-wù” 妙悟 (marvellous awakening) and the famous tropes “líng-yáng guà-jiǎo, wú-jì kě-qiú” 羚羊挂角無迹可求 (the antelope hangs its horns with no track to follow) and “shuǐ-zhōng zhī yuè, jìng-zhōng zhī xiàng” 水中之月鏡中之象 (the moon in water, the image in a mirror) became the touchstones of Míng–Qīng poetic criticism. The Qiánlóng emperor’s preface to the WYG edition strongly attacks Yán’s Chán/poetry analogy as ahistorical (since Bodhidharma’s Chán post-dates the Shū-jīng’s “shī yán zhì” 詩言志).