本文重點在探討「毗盧觀音」造像與信仰，其產生與三大士(Three Mahàsattvas)及其周邊群像的配置有密切的關係，無論是三大士自身──從華嚴三聖(毗盧遮那佛、普賢、文殊菩薩)轉化為三大士，或者是宋明時期寺院殿堂的神祇配置之對應關係來看，都存在毗盧遮那與觀音對等、互換的現象，「毗盧觀音」是從教觀思想的氛圍以及宋明時期殿堂的佈局配置的影響之下，所發展出來的特殊造像與信仰，「毗盧觀音」信仰雖然沒有直接的經典依據，也非同於一般民俗信仰之流，在信仰演進的過程中，逐步融入吸收了各家經典的學說，早期受到華嚴思想與密教觀音修法的影響，其後又加入了《楞嚴經》、《法華經》的思想乃至民間信仰的元素，「毗盧觀音」造像與信仰的背後，自有其深厚的佛教教理底蘊。

Paper focuses on statue and belief for “Vairocana Avalokitesvara”, its presence has a close relationship to configuration of three mahàsattvas and images around its, no matter how three mahàsattvas themselves—from three saints of Hua-yen(Vairocana, Samantabhadra, Manjushri), or seeing from corresponding relationship of configuration of deities in temple hall in Song or Ming period, which all reflect equivalence and exchange between Vairocana and Avalokitesvara, “Vairocana Avalokitesvara” is a special statue and belief on the effect of atmosphere for preaches and thoughts and configuration for hall in Song and Ming periods, althought “Vairocana Avalokitesvara” has no direct classical traces, and is different from general folk belief, it gradually integrates and absorbs classical theories of every school in the process of evolution of faith, it is affected by Hua-yan Thoughts and Avalokitesvara Practices in Esoteric Buddhism in early times and later added into the thoughts for Shurangama Sutra and Lotus Sutra and elements of folk belief, so there is profound foundation of Buddhism preaches at the back of statue and belief for “Vairocana Avalokitesvara”.