文殊菩薩的信仰，在大乘佛教思想是屬於主軸的地位，佛教入華後，隨著大乘菩薩思想的流布，南北道場的建立，文殊顯化五臺山，凝聚信眾，終為中國四大菩薩道場，首開其例。隨著相關經典的漢譯，文殊信仰的大力流布，文殊圖像的創作，應運而生。自漢晉以下，依時期的更替，每個朝代均產生不同造形的文殊圖像，二千年來，持續繪畫或雕塑，文殊造像演變史可謂源遠流長，豐富而多樣。大華嚴寺自立寺以來，所蒐集的佛教相關文物，十分豐富，而其中所藏有關文殊圖像，雖然多數是當代創意作品，但每一件作品，無論立體或平面，自頭光、寶冠、法相、服飾、姿勢、手中持物、蓮臺、坐騎等，均可追溯其原始寓意，與早期的圖像傳承。本文就寺內所藏文殊圖像中，首次挑選其中代表性者近二十件，先就外部造型，加以分類，再就局部特徵，追溯其源頭，以接續傳承法義。

本文要目

前言

壹、初期大乘佛經所載的文殊形象

一、現出家比丘像的文殊

二、大華嚴寺藏的聲聞相文殊

貳、中土早期文殊菩薩的圖像

一、早期維摩經變等的文殊

二、維摩變文殊手中持物的出現

三、大華嚴寺所藏手持如意的文殊

參、中期密乘經軌中的文殊圖像

一、密乘經典所載的文殊圖像

二、大華嚴寺所藏持青蓮華與寶劍的文殊菩薩

（一）、單持蓮華的文殊

（二）、手持寶劍與經卷

（三）、漢式手持寶劍、蓮花、梵夾

（四）、藏密式舉劍文殊

肆、華嚴經系的文殊

一、與普賢菩薩對應的文殊

二、大華嚴寺所藏華嚴經系的文殊

伍、文殊的頭冠與身光

一、經典所載的戴冠文殊

二、大華嚴寺文殊菩薩的寶冠

三、大華嚴寺文殊菩薩的頭光與身光

陸、結語

Mañjuśrī is one of the most significant bodhisattvas in the Mahāyāna Buddhism. Since Buddhism entered China, Mahāyāna belief spread to the north and south China where different Buddhist groups were established. Mañjuśrī belief emerged in Mt. Wutai, attracted numerous believers, and became the first of the four main bodhisattva beliefs in China. While the related sutras being translated, Mañjuśrī belief began to widely spread and so did the Mañjuśrī images. Since Han and Jin dynasties, Mañjuśrī has had changed his appearance in different dynasty and the history of the paintings and sculptures of Mañjuśrī have continued developing for more than two thousand years. The Huayen World Community of Taiwan has great collections of Buddhist objects. Within them, most of the images of Mañjuśrī were made by contemporary artists. Yet, the iconography of every Mañjuśrī in this collection,including their halos, crowns, clothes, gestures, attributes, lotus daises, and vehicles, could be traced back to early images and many of them contain the original meanings. This paper discusses around 20 pieces of the most representative Mañjuśrī images in this collection for the first time. Base on the characteristics of their appearance, this paper will first classify them into difference categories and then analyze their visual details to trace the origins of their styles and iconographies.

This paper has seven sections, the contents as the following:

Foreword

Chapter 1 Description of Mañjuśrī ‘s appearance in early Mahāyāna Sutra

Chapter 2 The early Mañjuśrī image in China

Chapter 3 Description of Mañjuśrī ‘s appearance in Vajrayāna Sutra

Chapter 4 Description of Mañjuśrī ‘s appearance in Avataṃsaka Sutra

Chapter 5 Manjushri’s crown and the light around body

Chapter 6 Conclusions