明散曲是明代文學的支柱，承紹元曲，也發展出自己的特點。馮惟敏爲北派曲家之中，兼有眾長而獨成大家者，對散曲有開拓之功。作品集《海浮山堂詞稿》作品題材廣闊、內容豐富、現實性強、語言活潑自然，深具爽朗豪邁之風格，故有「曲中蘇辛」之 稱。 數詞，原爲客觀的詞類，漢語裡則的數詞在表數之外，又富有文化意涵，運用於文學作品之中，甚至是要求精簡的詩體，形成詩歌語言的特色之一。本文以《海浮山堂詞稿》數詞爲觀察對象，如實地分析、描寫運用的情形，期能瞭解數詞在散曲運用的情形，並歸納馮惟敏運用數詞的特點。

Sanqu is the pillar of the literature in Ming Dynasty. Sanqu is originated partly from the Yuanqu, but it also has its own developments and characteristics. Among the North School Qu writers, Feng Weimin was the one who had all the strengths. He contributed to the beginning of Sanqu, and was considered the great writer. His work collection "Hai-fu-san-tang-chi-gau" contains variety in themes, is abundant in its content, is strongly realistic, and has lively and natural language. Its style is so bright and generous that it is called "Su and Sin of the Qu. "Numeral," originally an objective term, carries a spectrum of cultural meanings in Chinese. When it is used in literary works, even in the poetic genre which demands simplicity, it becomes one of the characteristics in the poetic language. This article takes the antithesis in "Hai-fu-san-tang-chi-gau" as the observation object, through practical and factual analysis and descriptions of the situation of the use of numerals, and hoping to understand the circumstances of the use of numerals in Sanqu and to conclude Feng's language style in his work.