本文主要先從《華嚴經》的形成，〈入法界品〉的成立談起，論及《華嚴經》及〈入法界品〉的內容，再談到自二世紀《華嚴經》成立以下，其內容表現在圖像的題材演變，〈入法界品〉圖像在唐代的登場，再引入印尼日惹婆羅浮屠的建造，外形寓意、裝飾題材大要，以及有關〈入法界品〉所描述善財童子參訪五十三位善知識者等內容，其表現在百餘幅的石板浮雕的造型風格，其次，再以人物姿勢裝飾造型、圖像布局、宮殿樹木雲影等背景、主題延伸的畫面等數點，來分析婆羅浮屠〈入法界品〉浮雕圖像的風格特徵，最後並回歸整個婆羅浮屠所彰顯的華嚴境界。

This paper starts from the discussion of how Avatamsaka Sutra and Gandavyuba Sutra were formed, with the contents they included, to the imageries developed under these contents after the 2nd century. The discussion first introduces the images of Gandavyuba Sutra at Tang dynasty, and then carries over to the constructions of Borobudur, to look at the meaning of their appearances and the main points of decorations, as well as the depictions of Sudhana converse with 53 masters in Gandavyuba. How they are displayed on the style of hundreds of stone panels. Next, the discussion is focused on the postures, decorations and shapes of the characters, picture layouts as well as the backgrounds such as palaces, trees and clouds. The focus of discussion will then come back to the whole display, to analyze the characteristics and styles of Borobudur, and finally, look back to the realm of Huayen which highlights on Borobudur.