---
title: "沙彌律儀要略增註 · 七曰不歌舞倡妓不往觀聽"
description: "沙彌律儀要略增註由清代高僧弘贊律師註解。該書以明末蓮池大師輯錄的《沙彌律儀要略》為基礎進行深入註釋闡發。內容涵蓋沙彌應持的十戒二十四威儀等行持規範，並詳細解釋其制戒緣起與實踐細則。本書是漢傳佛教僧伽教育的重要律學典籍，系統總結了沙彌行為準則，為新出家者提供了權威的修行指南，在佛教戒律傳承中具有不可替代的地位，至今仍是寺院培養僧才的核心教材。"
url: "https://rushiwowen.co/en/r/cmcx097y308oijl04acp1d2lg"
---

### △七曰不歌舞倡妓不往觀聽

> Seven: Do not sing, dance, or play music, and do not go to watch or listen to such performances.

離身口過。故曰不歌舞。遠色聲塵。故曰不觀聽。

> Refrain from song and dance to purify your actions and speech. Avoid sights and sounds that stir desire, to keep your senses clear.

解曰。歌者口出歌曲。

> Explanation: Singing means the mouth producing songs.

所謂歌唱曲令也。長引其聲詠之曰歌。樂書云。樂有歌。歌有曲。曲有詞。所以詩言志。歌詠言。吟咏之有上下。如草木之有柯葉也。爾雅曰。聲比於琴瑟曰歌。徒歌曰謠。謂無絲竹之類。獨歌之也。韓詩曰。有章曲曰歌。無章句曰謠。又咏詩曰歌。短歌謂之謠。詩注云。謠者歌聲之遠聞也。故善歌者。有含商吐角之音。列子云。秦青撫節悲歌。聲振林木。響遏行雲是也。

> Singing, tunes, and melodies are all forms of music. Drawing out the voice in a prolonged manner is called "song." The Book of Music states: "Music has songs, songs have tunes, and tunes have lyrics." Thus, poetry expresses intent, while song gives voice to words. The rise and fall of chanting and singing are like the branches and leaves of plants and trees. The \*Erya\* explains: "When sounds are accompanied by instruments like the qin or se, it is called 'song.' Singing without accompaniment is called 'ballad,' meaning performed alone without string or wind instruments." The \*Han Poetry\* says: "Having structure and melody is called 'song'; lacking structure and verses is called 'ballad.'" Additionally, reciting poetry is called "song," while short songs are referred to as "ballads." The \*Annotations on Poetry\* notes: "A ballad is a song whose sound carries far." Therefore, skilled singers possess the ability to embody the tones of the \*shang\* and \*jiao\* scales. As \*Liezi\* records: "Qin Qing beat the rhythm and sang with deep emotion, his voice shaking the trees and halting the passing clouds."

舞者。身為戲舞。

> The dancer. It is all a performance.

手足變弄曰戲舞。歌舞乃俳優雜戲也。

> Waving one's hands and feet about is called play-dancing. Singing and dancing are the arts of entertainers and jesters.

倡妓者。謂琴瑟簫管之類是也。

> A courtesan is one who plays instruments such as the qin, se, xiao, or guan.

倡妓是音樂之總稱。樂者鐘鼓簫管宮商羽角徵籥也。琴瑟是絃樂。簫管是管樂。昔伏羲斵桐為琴。名曰離徽。絙桑為瑟。琴長七尺二寸。鳳池四寸。象四時。龍池八寸。象八風。絃二十七。以通神明之貺。舜制長三尺六寸六分。象朞之日。合天人之和。廣六寸。象六合。腰濶四寸。象四時。前廣後狹。象尊卑。上圓下方。象天地。五絃象五行。十三暉。象十二律。餘一暉象閏。後文王加少宮少商二絃成七。或云加文武二絃。瑟有三十六絃。以修身理性。反其天真。今人用之為戲樂誤也。昔女媧氏。用五十絃。秦帝使素女鼓。而聽之極悲。乃析而用其半。以抑其情。而樂乃和洽也。簫肅也。謂其聲肅肅而清也。編小竹管為之。參差不齊。象鳳之翼。大者二十三管。長尺四寸。小者十六管。長尺二寸。管有六孔。一曰七孔。今時簫似笛。或曰亦簫也。餘琵琶笙簧箏笛箜篌等。皆倡妓之類也。

> "Changji" is a general term for music. Music includes bells, drums, flutes, pipes, and the seven notes of the scale: Gong, Shang, Jue, Zhi, Yu, Bian Gong, and Bian Zhi. The qin and se are string instruments. Flutes and pipes are wind instruments. In ancient times, Fuxi carved tong wood to make the qin, naming it "Li Hui." He stretched mulberry wood to make the se. The qin was seven feet two inches long, with a "phoenix pond" of four inches, symbolizing the four seasons, and a "dragon pond" of eight inches, symbolizing the eight winds. It had twenty-seven strings to connect with the blessings of the divine. Emperor Shun later made it three feet, six inches, and six-tenths long, symbolizing the days of the year, harmonizing heaven and humanity. It was six inches wide, symbolizing the six directions, and four inches thick at the waist, symbolizing the four seasons. It was wider at the front and narrower at the back, symbolizing the distinction between noble and humble. The top was round, and the bottom was square, symbolizing heaven and earth. The five strings symbolized the five elements, and the thirteen frets symbolized the twelve musical tones, with one extra fret representing the intercalary month. Later, King Wen added two strings, the "minor gong" and "minor shang," making seven strings in total. Some say he added the "civil" and "martial" strings. The se had thirty-six strings, used for cultivating one's character and returning to one's true nature. Today, people use it merely for entertainment, which is a mistake. In ancient times, Nüwa used a fifty-string se. When Emperor Qin ordered the goddess Su Nü to play it, the music was unbearably sorrowful, so he split it in half to moderate its emotion, making the music harmonious. The xiao flute is so named because its sound is clear and solemn. It is made of small bamboo pipes arranged unevenly, resembling the wings of a phoenix. The larger version has twenty-three pipes, each one foot four inches long, while the smaller version has sixteen pipes, each one foot two inches long. The pipes have six holes, or sometimes seven. The modern xiao resembles a flute, and some say it is also a type of flute. Other instruments such as the pipa, sheng, huang, zheng, di, and konghou all fall under the category of changji.

不得自作。亦不得他人作時。故往觀聽。

> Do not create it yourself. Also, do not go to watch or listen when others are creating it.

自作從身口。二業生罪。觀聽從眼耳。二根招愆。故往者。顯非無心也。若路由彼過。無心觀聽不犯。

> When you yourself create wrongdoing through your body and speech, or when you observe and listen through your eyes and ears, these actions can lead to faults. Therefore, when such actions occur, it shows they were not done without intention. However, if you happen to pass by and unintentionally see or hear something, that is not considered an offense.

古有仙人。因聽女歌音聲微妙。遽失神足。觀聽之害如是。況自作乎。

> In ancient times, there was an immortal who, upon hearing the enchanting song of a woman, instantly lost his supernatural powers. If merely listening can cause such harm, how much more dangerous is it to create such distractions oneself?

遽。疾也。卒也。神足者。飛行也。大婆沙論云。昔有隲陀衍那王。將諸宮女。詣水迹山。除去男子。純與女人。燒眾名香。奏五妓樂。露形而舞。樂音清妙。香氣芬馥。時有五百仙人。乘神通上過。或見色。或聞聲。或嗅香。皆退神通。一時墮下。如折翼鳥。不復能飛。王見問曰。汝等是誰。諸仙答言。我是仙人。王言。汝得非非想定否。仙言。未得。乃至問言。汝得初禪否。仙言。曾得今失。時王瞋言。不離欲人。如何觀我宮人婇女。便󳫠劍斷截五百仙人手足。彼諸仙人。有從眼根而退。有從耳根而退。有從鼻根而退。是故一時墮落。故云觀聽之害如是。況自作乎。

> Swift. It means rapid, sudden. The divine foot refers to the ability to fly. The Great Commentary on the Abhidharma recounts: In ancient times, King Udayana took his palace maidens to the Water-Trace Mountain. He dismissed all the men, leaving only women. They burned rare incense, played the five kinds of musical instruments, and danced naked. The music was clear and exquisite, the fragrance rich and intoxicating. At that time, five hundred ascetics were flying past using their spiritual powers. Some saw the sights, some heard the sounds, some caught the scents—and all lost their spiritual powers at once, falling from the sky like birds with broken wings, unable to fly again. The king saw them and asked, "Who are you?" The ascetics replied, "We are ascetics." The king said, "Have you attained the state of neither-perception-nor-non-perception?" They said, "We have not." He asked further, down to, "Have you attained the first meditative absorption?" They said, "We once had it, but now we have lost it." Then the king grew angry and said, "You who have not yet freed yourselves from desire—how dare you gaze upon my palace women?" And with his sword, he cut off the hands and feet of the five hundred ascetics. Among those ascetics, some fell because of what they saw, some because of what they heard, some because of what they smelled. That is why they all fell at once. Thus it is said: The harm from merely seeing and hearing is like this—how much more so from acting oneself?

今世愚人。因法華有琵琶鐃鈸之句。恣學音樂。然法華乃供養諸佛。非自娛也。

> People nowadays, in their foolishness, see that the Lotus Sutra mentions musical instruments like lutes and cymbals, and so they recklessly indulge in learning music. However, the Lotus Sutra speaks of offering music to the Buddhas—not for one's own entertainment.

娛。樂也。琵琶是胡琴。長三尺五寸。象三才五行。四絃。象四時也。鐃。古以金造之。鈸。以銅作之。經云。若使人作樂。擊鼓吹角貝。簫笛琴箜篌。琵琶鐃銅鈸。如是眾妙音。盡持以供佛。或以歡喜心。歌唄頌佛德。乃至一小音。皆以成佛道。經謂使人作。顯非沙門自為也。盡持以供養。明非自娛也。

> Music. It brings joy. The pipa is a stringed instrument from the northern regions, three feet five inches long, symbolizing the Three Powers and the Five Elements. Its four strings represent the four seasons. The nao cymbals were originally made of metal. The bo cymbals are crafted from copper. The scripture says: If one arranges music— Beating drums, blowing horns and conch shells, Playing flutes, pipes, lutes, and harps, Pipas, cymbals, and copper bo— All such wondrous sounds, Take them all to make offerings to the Buddha. Or with a joyful heart, Sing hymns in praise of the Buddha’s virtues. Even the smallest note, All can lead to the path of awakening. The scripture speaks of having others perform the music, making clear it is not for monastics themselves to do. “Take them all to make offerings” shows it is not for personal entertainment.

應院作人間法事道場。猶可為之。今為生死捨俗出家。豈宜不修正務。而求工技樂。

> Even if it were a worldly temple conducting mundane ceremonies, it might still be permissible. But now, having renounced the household life for the sake of transcending birth and death, how can one not devote oneself to true practice, and instead pursue skills and entertainments?

閑晏修道處。名為道場。佛坐菩提樹下成道。故名其處為道場。今以人間法事為道場者。是隨俗言耳。應院。謂應赴菴院也。原佛教中。本無應赴事。良猶末法人訛。不為超生越死出家者。饕餮世間穢利。故有之也。割愛辭親。是曰捨俗。出煩惱家。故曰為生死。禪誦禮拜。勤修福慧。名為正務。既為生死不修正務。而反求工巧於世技樂。重增生死之累。自喪己德。忝玷法門。故止觀云。皮文美角。膏煎鐸毀。已自害人。況修出世之道。而當樹林招鳥。腐氣來蠅。豈不摧折污辱乎。注曰。象為牙死。犀為角亡。翠為羽殘。膏有明故煎。鐸有聲故毀。麋鹿為皮自害。眾鳥集樹。必為枯折。蒼蠅集於腐肉。反憎肉臭。喻出家人。自以技能招害。摧折自行。污辱三寶。過非小也。

> A peaceful place for cultivating the Way is called a "place of practice." The Buddha attained enlightenment sitting beneath the Bodhi tree, so that spot is also called a place of practice. Nowadays, using worldly Dharma ceremonies as places of practice is merely following common speech. "Response temples" refer to temples that respond to invitations. Originally, Buddhism had no such practice of responding to invitations. It is truly a distortion of the Dharma in the latter age—those who leave home not for the purpose of transcending birth and death, but to greedily consume the filthy profits of the world, thus giving rise to such practices. To cut off attachment and leave one's family is called "renouncing the worldly." To depart from the home of afflictions is called "engaging with birth and death." Meditation, recitation, bowing, and diligently cultivating blessings and wisdom are called "right practice." If one engages with birth and death but does not cultivate right practice, instead seeking skill in worldly arts and pleasures, one only increases the burden of birth and death, loses one's own virtue, and disgraces the Dharma gate. Therefore, the \*Zhiguan\* says: "The elephant dies for its tusks, the rhinoceros for its horn; the musk deer is hunted for its fragrance, the kingfisher for its feathers. Fat is burned because it gives light; bells are destroyed because they produce sound. The deer is harmed for its hide. When many birds gather on a tree, it will surely wither and break. Flies gather on rotting meat, yet they despise its stench." This metaphor illustrates that monastics, by using their skills to attract harm, undermine their own practice and defile the Three Jewels. The fault in this is not small.

乃至圍棊陸博骰擲摴蒱等事。

> and even activities such as board games, dice games, gambling, and other games of chance.

圍棊古三百六十路。今十九路。象棊有三十六旬。以象牙飾之。故名象棊。又云。世傳堯作圍棊。武王作象棊。以象戰鬬也。有云。昔神農以日月星辰為像。唐相國牛僧孺。用車馬將士卒。加砲代之為機矣。骰即骰子。是陸博采具。陸博即雙陸棊。亦名博塞戲。魏曹植製雙陸局。以五木為骰子。有梟盧雉犢塞五者。為勝負之采。故人刻一骰為梟鳥形。得之為上勝。又骰六箸。行六棊。謂之六博也。擲者投也。拋也。如擲色。投壺。拋毬。跳錢也。樗音樞。蒱音蒲。相傳謂老子入胡作。用六子為馬。今人擲之為戲。亦博奕之總名。所謂樗蒲一擲百萬是也。乃至與等者。皆戲樂未盡之舉也。

> The ancient game of Go had three hundred and sixty intersections. Today it uses a nineteen-by-nineteen board. The game of Xiangqi has thirty-six pieces, originally decorated with ivory, hence its name, "Elephant Chess." It is said that Emperor Yao created Go, while King Wu of Zhou invented Xiangqi to simulate warfare. Another tradition holds that the Divine Farmer used the sun, moon, and stars as models. Chancellor Niu Sengru of the Tang dynasty added chariots, horses, generals, soldiers, and cannons to the game, making it more tactical. Dice are tools for gambling in the game of Liubo. Liubo is also known as Shuanglu or the game of Bo Sai. Cao Zhi of the Wei dynasty designed the Shuanglu board, using five wooden dice. The five winning combinations were "Xiao," "Lu," "Zhi," "Du," and "Sai." People carved one die into the shape of an owl, and obtaining it was considered the highest win. Additionally, six dice were used to move six pieces, which was called "Six Bo." "Tossing" means to throw or cast, as in throwing dice, playing pitch-pot, tossing a ball, or flipping coins. Chupu is said to have been created by Laozi when he traveled among the barbarians, using six pieces as horses. Today, people toss dice for entertainment, and it is also a general term for gambling—hence the saying, "A single toss in Chupu can win a million." All these activities are forms of playful amusement, not yet fully exhausted.

皆亂道心。增長過惡。

> They only confuse the mind and increase wrongdoing.

如上所說。俱擾亂正念。增長貪瞋煩惱。生死過患由此而興。誠非釋子所為也。

> As mentioned above, all these actions disturb right mindfulness, increase greed and anger, and give rise to the afflictions and dangers of the cycle of birth and death. Truly, these are not the ways of a follower of the Buddha.

噫。可不戒歟。

> Alas! How can we not be cautious?

大論云。聲相不停。暫聞即滅。愚癡之人。不解聲相無常變失。故於音聲中。妄生好樂。於已過之聲。念而生著。有智之人。觀聲生滅。前後不俱。無相及者。作如是知。則不染著。若斯人者。諸天音樂。尚不能亂。何況人聲。如是等種種因緣。訶聲過失。如大迦葉等。聞天王彈琴。尚起作舞。不能自安。況凡夫輩。可不當深戒歟。

> The Great Treatise states: The sound of a voice does not linger; it is heard for a moment and then vanishes. Foolish and ignorant people fail to understand that the nature of sound is impermanent and fleeting. Thus, they develop misguided attachments to sounds, clinging to those that have already passed. A wise person, however, observes how sounds arise and cease, never remaining the same from one moment to the next. With this understanding, they do not become entangled. For such a person, even the music of the heavens cannot disturb their mind—how much less the voices of ordinary people. Through such reasoning, the faults of attachment to sound are exposed. Consider how even the great Mahakasyapa, upon hearing the music of a heavenly king, was moved to dance and could not remain still. If even an enlightened one could be stirred, how much more should ordinary people deeply guard against such attachments?