圖底理論，本是構成視覺藝術格式塔特點的基本規律，被運用於造型藝術，後來又被辭章章法所援引，用以分析文章作法。所謂「圖」，是指產生聚焦功能的焦點；所謂「底」，是背景，對焦點起著烘托的作用。圖底法若落實到慶修院建築群體上來說，日治時期吉野村日本移民的奮鬥與開發，光復以後吳添妹居士、釋性良法師及花蓮縣青少年公益組織協會代代維護經營等時、空背景材料，就是「底」，它具有把視覺對象（「圖」）從其背景浮現出來的作用。至今仍保有江戶時代建築風格的慶修院本堂，其前身為日本真言宗高野派吉野布教所，是日治時期吉野村移民最主要的信仰中心；它與周邊的光明真言百万遍碑、祈願百度石、八十八石佛迴廊等相關建築群，即形成了「圖」的性格。本文預期把「圖底」理論引介至建築結構領域之中，以探討慶修院這一宗教文化空間的義涵。

The figure-ground theory, it is originally a basic rule which forms the visual art of Gestalt, applied to the plastic arts, quoted by the organization of writing later, in order to analyze the article. What is called “figure “, means that produces the focus focused on the function. What is called “ground” is a background and plays a role in setting off by contrast. If the figure-ground theory is used to express the building of the Qing-Xiu-Yuan, the struggle and development of the village of Japanese immigration in Japan manage period, and Tian- Mei Wu, Xing- Liang shi-fu , the organization association of teenagers of Hualien in the Republic of China period, all of these space-time background materials are the “ground”. It has a visual target function of appearing the “figure “ from its background out. Up to now, the main-building of the Qing-Xiu-Yuan still has kept the architectural style of Japan’s Jiang-Hu period. The main-building of the Qing-Xiu-Yuan was the main faith and preach centre of Japan immigrants of Ji-Ye village before. The Zhen -Yan（しんごんしゅう）religious sect was from Japan Gao-Ye mountain, in order to aid and comfort Japan immigrants’ minds and souls. The main-building of the Qing-Xiu-Yuan , the stela of Zhen -Yan, 88 stones Buddha ,etc., have formed the character of “figure “.They have attracted all people's sight. This thesis is talking about the figure-ground organization of the Qing-Xiu-Yuan what religious culture meaning it is.