本文旨在考察弘一法師(1880－1942)如何闡釋在家戒律，認為他既承繼明末清初戒律復興的脈絡，也因憂心當時佛教戒律和僧伽地位的發展，故有意透過三皈五戒的論說，為推廣在家戒律做出新貢獻。本文分為三部份。文章首先探究明末清初的戒律復興運動，尤其是此運動開始重視在家戒律，並催生如《在家律要》一類書籍的現象。在此基礎上，本文接著聚焦弘一所撰之〈律學要略〉，說明二十世紀上半葉由居士主導、推動重新出版律學古本的現象，不僅促成弘一的律學轉向，也形塑其有志「恢復古法」的戒律觀。要言之，弘一強調「發心」，以三皈五戒為宗，有意識地將在家居士納入戒律的考量。本文最後一部分討論在居士佛教興盛的脈絡下，弘一如何致力於在家戒律的具體指引，以及弘法方法的創新，以幫助居士接受律學與持戒，如採取演講、出版以圖像為主的《護生畫集》與含有圖表化戒律的《南山律在家備覽略編》等。透過本文可知，弘一對在家戒律的闡釋與宣傳，除了呈現二十世紀上半葉僧人推廣在家戒律的努力，也反映當時居士佛教興盛的實況，體現佛教與社會的密切互動。

This article examines the ways in which Dharma Master Hongyi (1880-1942) interpreted precepts for lay Buddhists, arguing that he not only adapted elements dating back to the seventeenth century Vinaya revival, but also, due to his concern over the development of Buddhist precepts and the status of the sangha, made innovative contributions to the promotion of lay Buddhist precepts through the teachings of the Three Refuges and the Five Precepts (sangui wujie 三皈五戒). 

This study first investigates the Vinaya revival movement during the seventeenth century, particularly its emphasis on lay Buddhist precepts, which resulted in the publication of works like Essential Lay Buddhists Precepts (Zaijia lüyao 在家律要). Based on these findings, the article then focuses on Hongyi’s “Brief Introduction to Vinaya” (Lüxue yaolue 律學要略) to explain how his turn to the Vinaya school and commitment to “restoring the ancient dharma” were triggered by the fact that during the early twentieth century lay Buddhists had started to take the lead in publishing venerable Vinaya texts. In short, Hongyi emphasized the significance of “motivation” (faxin 發心) plus the Three Refuges and the Five Precepts, while also consciously considering lay Buddhists in matters pertaining to the precepts. Finally, the article discusses how, in the context of the growth of lay Buddhism, Hongyi dedicated himself to offering concrete instructions for lay precepts by adopting new methods to spread Buddhist teachings. These included lectures as well as the publication of works like the Husheng Painting Collection(which consisted primarily of pictorial materials), and the Nanshan Vinaya Lay Buddhist Reference Compilation(which made use of diagrams to present the precepts). The data presented in this article reveal that Hongyi’s interpretation and promotion of precepts for lay Buddhists not only exhibited monastic efforts to promote lay discipline in the first half of the twentieth century, but also reflected the flourishing of lay Buddhism at that time as well as the intensive interaction between Buddhism and society.

戒律復興、弘一、在家戒律、居士、南山律

Vinaya Revival, Dharma Master Hongyi, Precepts for Lay Buddhists, Lay Buddhists, Nanshan Vinaya