英文摘要:Within the recent 300-year development of Buddhism in Taiwan, the 18-Lohan statues brought in from Jian-zhe and Min-nan Areas in China have been integrated with beliefs of Taiwanese folklore. From Cheng of Min dynasty, Chin dynasty and Japanese occupied era to the recovery of ROC, the temples in Changhua Area have shown their particular art features. The content of the thesis was to explore both the origin and the development of beliefs of 18-Lohan statues and to refer to the symbolic meaning generated from the molding analysis of each Lohan statue, and also to discuss the varied principles of symmetry, coordination, equilibrium and discrepancies among the similarity, which not only had independent molding, but also inter-responded with other statues. Finally, features of 18-Lohan of 24 temples with four major styles were discussed. Through the research on 24 temples in Changhua, the researcher hoped to analyze the existing 18-Lohan statues in order to generalize some standards through the molding census of the Lohan statues. First, the researcher sorted 20 of the most frequently appearing names of Lohan statues out and divided them into four categorized meanings to be discussed and had the molding contents to be compared. Poem-on-slips and Buddha wording praising Lohan at Chinsui Hill, Hushan Hill, Bolung Temple were applied to investigate the development of images and seek for both hidden principles of styles and further implication immerging in the collective consciousness of the folks and those master carvers. Nest, the researcher sorted out four sculpture styles of 18-Lohan statues in Changhua Area and analyzed and interpreted the features and styles of the images. The moldings of Changhua Area were full of abundant varieties, such as the water on the rock and the animals and plants in the cave of Lungshan Temple’s. It reinforced the magic and freedom of Lohan and further inclined to folklore and pleasure of adornment. Some were influenced by the architectural styles of Baroque during the era in Taiwan under Japanese sovereignty, such as the Buddha shrine shape of Nanyao Temple’s. Moreover, there were splendid and elegant clothes dressed up on Lohan statues like the clothing on the Lohans at Tan-hua Buddha Temple and Fu-hai Temple, which even amplified joys and boisterousness of folklore. In addition to the 18 Lohans, their peripheral ornaments like the holdings, the board calligraphy, the shapes of Buddha shrine, the disposition rank of the Lohans and the Lohan bamboo slips for people to make wishes also had their unique styles emerge. 18-Lohan statues in Changhua Area were full of peculiar styles; furthermore, with the innovative sculpture works by the modern carvers, the researcher did believe 18-Lohan statues would keep inheriting to show a new life with folk art merged with Buddha art.