本文是首次系統性介紹戰後初期台灣佛教的女居士群像，文中將著名之少數優婆夷個人典範擴展為社群經驗的濃縮，挖掘了戰後初期台灣女居士的群像。這三種典範－十姊妹代表的蓮社女性、孫張清揚代表的官太太、謝冰瑩代表的女作家，透露女性如何把握戰後佛教發展的契機，分別在不同角落為弘法努力。本文不但有助於理解佛教對戰後兩岸女性的啟發，以及提供的新公共空間，更能正視她們的社會影響力，如何為台灣佛教注入新的元素。戰後台灣佛教諸多現代化、改革的迫切需要，僧俗一致拓展新的弘法方式，於是造就這群質量均佳的新佛教女性。此一過程之中，不論大陸籍或台灣籍的女居士，都在文化接觸的震撼之下，以復興中國佛教馳名於公共領域，融合其力量，找到彼此合作的舞台。由上而下的官太太護法、女作家的弘法，動員台籍淨土女居士走上街頭弘法，創造復興正統僧團與正信佛教的氛圍，是戰後台灣佛教扎根與轉變的重要因素。

This paper associates three types of paradigmatic lay Buddhist women in Post-war Taiwan as refraction of three kinds of Buddhist women networks: (1) the Taiwanese female followers of the Lotus Communities, exemplified by the famous ten sisters; (2) the mainlander officials' wives, represented by the exemplar of Sunzhang Qingyang; (3) the mainlander female Buddhist writers, such as Xie Bingyin. These women participated in the alleged Orthodoxy Chinese Buddhism monastic movements, a complicated process of religious reform and culture exchange of political and educational resources. They were mobilized by the monastic communities but also empowered in this process. They established close ties with the core of decision-making in the monastic communities. In the name of reviving Chinese culture, they were able to participate in the public space opened by various new Buddhist organizations and contributed to the renewal of Buddhist establishments in post-war Taiwan.