現存出自日本鎌倉時代及其後的南北朝時代之文殊雕像及畫像中，有幾件同時有兩界曼荼羅的圖像；換言之，即文殊雕像的內部畫有兩界曼荼羅，或是文殊畫像上又畫著兩界曼荼羅。本文將分析這些作品之圖像特徵，並試論此類作品的產生與當時的佛教信仰有何特殊關聯。

鎌倉時代末法思想盛行，奈良地區名僧對於此時之修道方式有獨特的見解，即強調發「菩提心」的重要性。本文將以鎌倉時代文獻論證為何文殊信仰與發心有密切關係，並指出西大寺僧顯密兼修的情況，以文殊為顯密導師的角度，討論文殊與兩界曼荼羅並列的可能意涵。

From the Kamakura-period and the Nanbokuchō-period Japan, there are several Mañjuśrī sculptures and paintings related to the Two-realm Mandalas. The Two-realm Mandalas, composed with the “seed-syllables” (shuji), are either inscribed on the inner surfaces of the sculptures or on the upper corners of the paintings.

These works were all associated with an important religious group of the Kamakura Japan—the Saidaiji School led by the famous monk Eison. The major focus of the Mañjuśrī belief of the Saidaiji School, I argue, was placed on the deity's role as a teacher for the Buddhists, contrasted with the faith on Amitābha as a savior among the believers of the Pure Land Schools. I also argue that Mañjuśrī was looked upon as a mentor by Eison and possibly by other Saidaiji monks who practiced esoteric Buddhism. The significance of these works was to lead Buddhists to enter the realm of the Two-realm Mandalas through the inspiration of Mañjuśrī.

文殊; 兩界曼荼羅; 金剛界曼荼羅; 胎藏界曼荼羅; 叡尊; 西大寺; 鎌倉時代; 末法; 顯密佛教

Mañjuśrī; Two-realm Mandalas; Eison; Saidaiji; Kamakura; mappō; exo-esoteric Buddhism