台灣早期佛教的傳承主要為禪宗臨濟法脈，而修持課誦的法要卻融和了淨土宗與密宗的法門。然清代中葉以下佛寺供像，在主尊像兩旁，往往是文殊、普賢二菩薩，形成華嚴三聖像或三大士供像，此實已彰顯華嚴的宇宙觀。而在瑜伽燄口法會中，盧舍那佛、毗盧遮那佛、五方佛、十方一切諸佛等頌詞，頻頻出現，法會信眾實已進入華嚴的法界觀，此反映了華嚴思想在台的建構與容受，是其來有自。而近半世紀以來，新的道場佛寺不斷出現，不但承襲傳統華嚴的思惟架構，更推陳出新，將抽象的華嚴圓融精神，以不同的圖像、建築造形具体的表現出來。顛覆過去相沿已久的華嚴圖像藝術，展現了二十一世紀嶄新的華嚴世界。本文為理出臺灣華嚴圖像演變的脈絡，先就佛寺的供像方式，尋找明清時代華嚴思想流布的蛛絲馬跡，再循序安置日治時代以下的華嚴聖像。至於近六七十年來，華嚴相關的供像、圖譜、繪畫、創意建築展示等，更是豐富。

Early Buddhism in Taiwan followed the Lin-ji lineage of Zen, although ritual practices had become integrated with those of the Pure Land sect and others from Esoteric sects. From the middle Ching dynasty, however, people had begun worshiping the Hua-yen triptych: the main Buddha in the middle with Mañjuśrī and Samantabhadra on either side. Chanting practice included invocations of Vairocana, the Five Dhyani Buddhas, and the Buddhas from Ten directions, which illustrates the reception of Hua-yen thought in Taiwan. In the past half-century, new Buddhist temples have embodied the spirit of Hua-yen through different visual formats such as icons or architectural motifs. This paper traces the historical development of images of Hua-yen in Taiwan from the Ming and Ching dynasties, through the Japanese colonial period, until recent years. Images examined include icons, illustrations, paintings, and architectural motifs.