國立故宮博物院刺繡,圖123-142&* 繡像中觀音形貌,融合法華、華嚴、密教與阿彌陀淨土等信仰以及民間傳說。觀音渡世慈航的基本精神發端於普門,「觀音以種種形,遊諸國土,度脫衆生」。 淨土信仰中,觀音為阿彌陀佛的脅侍與補儲,故頭戴彌陀寶冠。﹝華嚴經﹞有善財童子合掌參拜觀音事蹟。密教經典中消災除病的觀音,有白衣楊柳形貌。龍女與鸚鵡的出現,五鬼擎起觀音岩座,顯示觀音信仰吸收民間傳說的一面,亦為原本莊嚴之法相,平添幾許趣味性。 本幅為梵方圓成冊第二十幅。&*The image of Kuan-yin embroidered on this silk panel reveals an amalgamation of beliefs and visual forms from the Lotus Sutra, the Gandha-vyuha Sutra of the Hua-yen sect, Esoteric sutras, Pure Land sutras, and popular legends. The image of Kuan-yin as the spirit of mercy derives from the Samanta-mukha Chapter in the Lotus Sutra in which it is written that Kuan-yin assumes a myriad of shapes to appear in all lands to save sentient beings. In Pure Land Buddhism, because Kuan-yin helps the Buddha Amitabha, Kuan-yin wears a crown decorated with a small figure of Amitabha. In the Gandha-vyuha Sutra of the Hua-yen sect, Prince Sudhana worships Kuan-yin. In Esoteric sutras, Kuan-yin, who is known for preventing calamities and curing illnesses, wears a white robe and holds a willow branch. Depictions of the daughter of the Dragon King, a parrot, or five demons who hold up Kuan-yin’s stone platform, are images from popular legends. This melange shows that the belief in Kuan-yin was widespread, and these elements add an interesting twist to the solemn and dignified images of Buddhas.&*1.葛婉章,〈清人繡渡世慈航〉,收入葛婉章編,《妙法蓮華經圖錄》(臺北:國立故宮博物院,1995年初版),頁122-123。