初期佛教美術時期(西元前六世紀初至西元一世紀末葉)發展出「無偶像論」(aniconism) 的宗教美術觀，由於歷史上的佛教聖者釋迦牟尼佛捨肉身入般涅槃後，世人因佛陀形象的不可替代性故以「象徵圖像」暗示佛陀的存在。象徵圖像的主題多與佛陀生平事蹟密切相關，如佛陀四相(出生─蓮花、成道─菩提樹、說法─法輪、涅槃─佛塔)，其中，印度自古有「聖樹」崇拜的傳統，世人進行各種虔敬禮拜供養活動，就佛教而言則是意味著「見菩提樹，猶見如來」，象徵著佛陀靜坐、沉思、悟道。因此，本文即以「菩提樹」象徵圖像為主要探討對象，針對刻畫在山奇第一大塔、二塔及三塔的塔門和欄楯雕刻圖像，藉由《阿含》經典文獻和印度美術史為主要架構，佐以圖像學和類型學的研究方法來解析「菩提樹」象徵圖像之圖像學特色及其象徵意涵。

The early Buddhist Art period (early sixth century BC to the end of the first century AD) saw the development of the religious art concept of aniconism. Because the historic Buddhist saint, Shakyamuni Buddha, shed his physical form to enter Nirvana, people had to utilize “symbolic imagery”to allude to his existence. Most of the time, the themes to these symbolic images are closely related to stories about the life of Buddha, such as his four phases (birth - lotus, completing the path to becoming a Buddha - linden Tree,expounding Buddhist doctrine - Dharma Wheel, Nirvana - stupa).Amongst this, India has retained a tradition of worshipping “sacred trees”since ancient times, and people have been conducting various practices of reverent worship and cultivation. In terms of Buddhism, these practices suggest the notion that “seeing the linden tree is like seeing Tathagata,” and symbolize the quiet sitting, meditation, and enlightenment of Buddha.Therefore, this paper mainly explores the symbolic imagery of the “lin en tree,” focusing on the carved images found across the gateways and railings of Sāñchī’s first, second, and third stupas. Utilizing the classical texts of the Agama Sūrta and Indian art history for its main framework, it analyzes the image characteristics and symbolic meanings of the “Linden tree” through iconographic and typological research.