本論文旨在探討明末清初東皋心越 (1639-1695) 之琴道及其自創琴歌。全文先簡述沙門之徒一向為傳統琴士所排斥，然明末清初之禪僧東皋卻對中國古琴在日本的流傳與影響貢獻良多。再對前人研究東皋琴學之成果略作回顧，以見前人對東皋之生平背景與姓氏、琴學師承與流傳以及《東皋琴譜》的版本與曲目、打譜與琴律雖皆有所論述，然對東皋之琴道尚未深入探討，故本論文乃從東皋之禪詩文入手，以瞭解其結合儒、道、禪為一之琴道，並且從其自創之琴歌來看，東皋創作的琴歌既採江派的琴家（借用古代詩詞歌賦來譜曲）的主張，又能避免浙派和虞山派反對琴歌「取古文辭用一字當一聲」或「取古曲隨一聲當一字」之蔽端，而成為明末僧人中集傳承與創作於一身的佛門琴家。

The paper aims at discussing Zen Master Dong-Gao’s Qin-Tao and his composing qin songs. First, the author briefly states that the conventional qin players always excluded the Buddhist monks from playing qin. However, there was a Zen monk, Dong-Gao, who was famous for disseminating the culture of Chinese qin to Japan at the end of the Ming Dynasty. Second, the author reviewed the research results of most of the studies on Dong-Gao. These studies have focused on the textual research of Dong-Gao’s background, name and mentor, as well as the versions, interpretation and modes of Dong-Gao Qin Music Score. Some of these studies paid close attention to how Dong-Gao passed Chinese qin to the Japanese. However, little attention has been given to Dong-Gao’s Qin-Tao（the Way of the Qin）and his composing qin songs. Third, the author will discuss the Qin-Tao of Dong-Gao by examining his poetry to analyze how he combined Confucianism, Taoism and Zen to form his thoughts. And then the author will proceed to research his composing qin songs. Finally, the research findings will discuss how Dong-Gao adopted ancient Chinese poetry to compose qin songs and abandon conventional patterns; as one word matches one note, this renders the qin songs toneless. Therefore Dong-Gao became a famous qin player who was able to both play and compose qin songs in the field of Zen at the end of the Ming Dynasty.