明末蕅益智旭〈一筆勾〉曲調研究

本文主要目的欲釐清「雲棲袾宏當初是否即以〈駐雲飛〉曲牌填詞傳唱？或後世僧眾弟子將〈七筆勾〉譜曲」等相關問題，進而從〈駐雲飛〉曲調、起源年代、及由南曲小令到為佛曲吸收的民歌小曲之發展過程、及地緣關係等四個面向為探討，深究〈駐雲飛〉曲調與袾宏〈七筆勾〉、智旭〈一筆勾〉之關係，以此論證袾宏及智旭用當時明代民歌〈駐雲飛〉曲牌填〈一筆勾〉之因緣。另，在研究過程中發現，對於僧人文集，應避免囿於高僧身分來限制研究範疇，因而損及學術成果之正確性，並提出有關明代民歌與佛教文學可做為新的研究議題等論點。

關鍵字

蕅益智旭；〈一筆勾〉；〈七筆勾〉；〈駐雲飛〉；明代民歌

並列摘要

The main purpose of this article is to clarify the following issues: Did Yun-Qi Zhu-Hong (雲棲袾宏) originally used the song-card ＂Flying in the Clouds＂ (Zhu Yun fei, 駐雲飛) to fill in the lyrics and spread it out? Or did the later monks and disciples compose the music of ＂Seven crossed out by one scratch＂ (Qi bi gou, 七筆勾), and merged into the Buddhist opera of ＂The Gui-Yuan Mirror＂ (歸元鏡) by Master Zhi-Da (智達法師) of the Qing Dynasty? This article further to explore the relationship between the ＂Seven crossed out by one scratch＂ of Yun-Qi Zhu-Hong and Ou-Yi Zhi-Xu (蕅益智旭) from the four aspects of the tunes of ＂Flying in the Clouds＂, the age of its origin, the development process and the geographical relationship of the folk songs which transform from NanquXiaoling (南調小令) to the folk song that were absorbed by the Buddhist song. And use this to demonstrate the reason for the completion of Yun-Qi Zhu-Hong and Ou-Yi Zhi-Xu using the popular folk song, ＂Flying in the Clouds＂, of the Ming Dynasty to fill in the ＂ One crossed out by one scratch＂. Furthermore, in the course of research, it was found that the study of the monk's anthology should avoid restricting the scope of the research because of the author's identity as an eminent monk, or thus undermine the academic results of the study. Finally, the study also puts forward the argument that the folk songs and Buddhist literature of the Ming Dynasty could be used as new research topics.