本研究以敦煌現存的十七鋪金剛經變為材料，依其經變內容做圖像的分析與歸納，以得其圖像之語彙及其組合系統，並以石窟中各經變組合探討經變間之關係，輔以相關文獻進行探究中晚唐時期敦煌地區的《金剛經》信仰。 本文除了序論、結論外，分為四章進行討論。在第二章中，由《金剛經》的相關註疏，得知該經在唐代以天親的釋論為主要經論。而天親對該經的淨土觀，係以第一義、有形相兩類淨土觀為說明；於佛教趨向世俗化的唐代，取有形相淨土作為表達經文「莊嚴佛土」之意，亦作為傳播該經信仰之工具。第三章中，筆者由十七鋪金剛經變整理得二十組畫面內容，分析出足以作為辨識金剛經變的四個代表性畫面，並歸納出金剛經變結構形式的兩大系統。於第四章，由講經文、靈驗記及相關文獻，窺見《金剛經》信仰有淨土信仰的融合，此即反映出《金剛經》所具之淨土觀。 最後於第五章，由中晚唐時期《金剛經》成為代表禪宗經典的身份，以探究金剛經變在石窟中可能扮演著禪法的角色。再從相關文獻及石窟內各經變的組合關係中，得見扮演著禪法角色的金剛經變與淨土經變出現融合的現象。而「禪淨融合」中的淨土是指阿彌陀淨土、藥師淨土與彌勒淨土等佛國淨土；而禪則係指禪法之意。本研究認為敦煌石窟現存十七鋪金剛經變，從其畫面的表現，確實可見淨土信仰的影響。而在存有金剛經變的石窟中，從該經變與其他經變的組合關係，亦反映出具有禪淨融合的表現。 The study is the based on the existing seventeen Diamond Sura Paintings from Dun-huang. The analysis and the summary to the Paintings are drawn from the content of the Sura. The vocabulary and its composed scheme which are derived from the Paintings in Grottoes are used in discussion about the relationships among the Sura Paintings. This provides the correlated records which help in exploring the belief of Diamond Sura in Dun-huang area in its mid-late Tang Dynasty. This article divides into four chapters in addition to its introductory and conclusion. In the second chapter, the Diamond Sura’s explanatory notes indicate the scripture used in the Tang Dynasty is primarily based on the definition or theory given by Vasubandhu. The theory of Pure-Land in the Sura by Vasubandhu is the first true with tangible form of explanation to the Pure-Land aspect. Because Buddhism in Tang Dynasty has the trend of becoming the common custom to its society, the tangible form of Pure-Land explanation conveys the idea of the dignified Buddha land and it is used as the material to spread the belief. In the third chapter, the writer arranges twenty sets of descriptive images from the seventeen Diamond Sura Paintings. From the images, four symbolic images are analyzed and are used to distinguish the Paintings and two primary systematic schemes are also concluded for the Paintings’ compositions. In the fourth chapter, manuscript explanation, efficacious records, and correlated records are glimpse of testifying the Pure-Land aspect blending with the belief and this reflects how Diamond Sura possesses the idea of Pure-Land aspect.In the final fifth chapter, Diamond Sura becomes the symbolic Zen scriptures during the mid-late Tang Dynasty to explore the role of Zen where it stands in the Paintings from the Grottoes. The Diamond Sura Paintings, which impersonate the role of Zen, are merged with the Paintings of Pure-Land aspect. This association of Paintings is observed from the correlated records and the relations found from the Paintings of the Grottoes. The Zen Pure-Land syncretism is meant for the aspect of Amidabha’s Pure-Land, Eastern Medicine-Buddha Pure-Land, Maitreya Paradise, and other Pure-Land of the Buddhism countries. The Zen is the idea of meditation.This study of seventeen Diamond Sura paintings from the Dun-huang Grottoes believes the exhibits of the images which have shown the influences from the Pure-Land aspect. From the existing Diamond Sura Paintings of the Grottoes, the association of the Paintings reflects the manifestation of the Zen Pure-Land Syncretism.
