鸞堂的鸞筆是扶鸞儀式中的重要法器，本文以臺灣的鸞堂在進行扶鸞儀式時所使用的鸞筆為對象，透過民間教派—儒宗神教的發展，考察鸞筆在日治時期以來的發展及變化。日治時期楊明機以扶鸞方式，寫出儒宗神教法門，後來以推廣儒宗神教為己任，四處推廣扶鸞。儒宗神教在其推廣下，也受到一批鸞門人士的認同，而接受了儒宗神教。1956年楊明機扶鸞出版《六合皈元》以後，就不再四處扶鸞著書，其活動力漸弱。1958年從二水回到臺北，可說只接觸相關的鸞書再版工作，漸淡出鸞堂的舞台。而戰後的鸞堂也有了新的變化，有些鸞堂由武乩乩壇轉換而來，有些則是新興鸞堂，這些鸞堂所使用的鸞筆，已不是過去儒宗神教的桃枝柳木的鸞筆，而出現了佛手乩、葫蘆桃筆等，此種發展與戰後鸞堂所面臨的社會文化的變化有關，當鸞堂不再面對異族統治，保存漢文化的壓力不再，鸞堂的教派化需求，就沒有那麼的強烈，傳統鸞筆傳說背後所代表的儒家或道教的正統的象徵意義，也就可不再全力維護，在民間信仰各有不同扶乩源頭的情況下，戰後鸞堂的鸞筆形制也就趨於多元。

Luan Bi, a wooden pen in the shape of a Phenix, is an important ritual object used in Fu Luan, a spirit writing ceremony taking place at Luan Tangs (i.e., Phenix shrines). This article explores how Luan Bi has been used and transformed since the Japanese colonial period via the examination of the development of the folk sect-- Ru Zong Shen Jiao, one with the blend of Confucianism and Taoism. During the Japanese colonial period, Mingji Yang was inspired to record the doctrines of Ru Zong Shen Jiao through a specific Fu Luan. Later he took on the responsibility of propagating Confucianism and Taoism, promoting the practice of "Fu Luan" extensively. This appealed to many people who later identified themselves with this religious belief. However, Yang's involvement in "Fu Luan" and writing decreased after the publication of "Liuhe Gui Yuan" in 1956. In 1958, after returning from Ershui to Taipei, Yang limited his activities to the reprinting of the Luanism-related books. His voice gradually waned in the community of Luan Tangs. After World War II , changes of Luan Tangs were witnessed. Some new shrines emerged while some shrines were transformed from Gi Tang (i.e., old shrines presided over by mediums with martial arts practices). Moreover, Luan Bi was no longer limited to the pens made of peach branches and willow. Instead, the pens were accompanied by gourd pens or pens in the shape of Budda’s hands. This development was related to the social and cultural changes faced by the post-war Luan Tangs. When the pressure to preserve Han culture against the rule of foreign countries diminished, the demand for Luan Tangs declined. Accordingly, the Confucianism or Taoism's orthodox meanings represented by Luan Bi were not vigorously advocated as before. Given the diverse origins of folk beliefs and sources of Fu Ji (spirit writing), the forms of Luan Bi in post-war Luan Tangs have become more diverse.

鸞堂; 扶乩; 鸞筆; 儒宗神教; 民間教派

Luan Tang (Phoenix shrines); Fu Ji (spirit writing); Luan Bi (a wooden pen in the shape of a Phoenix); Ru Zong Shen Jiao (a folk sect with the blend of Confucianism and Taoism); Folk Sects