印度瑜伽傳統，透過一系列特殊的身體技法（body technique）喚醒沉睡的軍荼利（kuṇḍalinī），傳入西藏後，形成藏傳佛教的吐默（tummo）修行方式。其間，在文化交融下，改變了一些樣貌，本文試圖以身體感的認識方法，藉由傳記文獻中的相關敘事，剖析「拙火」所引發的種種身體經驗，並經由拙火圖像的分析，探討拙火的修行方式，從印度到西藏；從文化觀點的社會身（social body）到主體經驗的物質身（physical body），是如何的被呈現於圖像的象徵系統之上。 宗教理念的身體實踐往往和當地傳統醫學有密切相關，不同的醫學傳統，因為對身體認識的方式各有不同的文化因素及背景，從而導致分歧的認知與實踐系統。對於身體圖式的運用也是如此，其中呈現了一定程度的文化自主性。 本論文將以身體主體性觀點結合文化脈絡下的象徵性意義來切入，以期達到文字敘事與圖像敘事的一種互文性對話。由身體實踐與文化經驗而來的各種修行圖式，除了在宗教本身所具有的觀點外，也將回歸實踐經驗的面向來解讀與檢驗，並且成為身體的觀眾，來觀看內在的展演。藉著這種回溯式的參與經驗，對於宗教上特有的修行圖像，希望能夠提出具有建議性的認識方式。 In Indian traditional yoga practice, kuṇḍalinī is awakened by specific bodyschema, which has become the Tibetan tummo practice after being adopted in Tibet.The features of the practice have changed by different cultures, which have also afforded various physical experience owing to the differences in natural environment and social culture. This thesis intends to analyze the physical experience and body sensation of the kuṇḍalinī syndrome based on biographical literature and other related essays, and to investigate how practice styles of kuṇḍalinī are symbolized in graphs and illustrations in India and Tibet, and in social body and physical body by analyzing graphs and illustrations of kuṇḍalinī. Religious physical practice is frequently connected to local traditional medicine.Owing to different understandings of the body that is attributed to different cultural backgrounds, different medicinal traditions are commonly seen which produce diverse learning and practice systems. It is the same for body schema practice, which also reflects cultural independence to certain extents. The discussion in this thesis is based on the subjective viewpoints of the physical body, in combination with symbolic meanings of all aspects in culture to gain smooth connections between written and graphic narratives. In addition to religious viewpoints, the kuṇḍalinī illustrations derived from physical and cultural experience should also be explained and analyzed by practical experience in order to gain spiritual insights into its physical appearance. By means of such retrospective participation experience, the author expects to provide constructive methodology for further understanding of graphs and illustrations in religious practices.
