本文旨在透過《法華經》作一嘗試性的析述。一，佛像身上或佛衣上刻縮各種複雜多變的說法圖相等，依松本榮一(MATSUMOTO EIICHI)、水野清一(MISUNO SEICHI)等前學知，是依於《華嚴經》的造像思想表現。不過北朝的造像，自東魏、西魏、北齊、北周起，已盛起「諸經會通」的造像思想開展，特別是當時盛行的《法華經》美術與著大乘諸經，如《維摩經》、《彌勒經》等相互會融共構，形成各類的說法圖相，故本文試以《法華經》作一探述。順便一說，此文撰於二十餘年前求學於日本時，是一不成熟之作。就中文言，是首次譯出。

The focus of the present article is on an experimental analysis and exposition based on the Lotus S?tra.Ordinarily, in images of the Buddha teaching the Dharma, many varied and complex designs are carved on the person or garments of the Buddha. According to scholars MATSUMOTO Eiichi and MIZUNO Siichi, this is based on the conceptualization of statues in the Lotus S?tra. However, in the Northern dynasties, beginning with Eastern Wei, Western Wei, Northern Qi, and Northern Zhou, the concept of “intra-compatibility of s?tras” had begun to emerge in statue-making. At that time, it was especially common to combine imagery from Lotus S?tra and other Mah?y?na s?tras-such as the Vimalak?rti S?tra and the Maitreya S?tra-into various types of Dharma-preaching imagery. Thus, this article attempts an experimental exposition.As a side note, this article was written more than twenty years ago when the author was studying in Japan, and is not a mature work. Nonetheless, this is the first time for the article to be translated into Chinese.