本文探討日本東大寺造像與佛畫中盧舍那佛圖像的演變。造像方面，本文以東大寺從八世紀成立以來至中世紀這段期間盧舍那佛（大佛）造像工程為中心，探討盧舍那佛（大佛）創建的緣起、鑄造過程，與歷代的損毀情況與災後重建工程。其中尤其著重於中世紀以來日本與中國匠師的合作關係，代表人物為主持東大寺重修的重要日本僧人重源上人，以及旅居日本的中國鑄造匠師陳和卿。佛畫方面，十二、十三世紀出現一批新的盧舍那佛的圖像，不同於承襲傳統盧舍那大佛的圖像學，此新盧舍那佛的圖像可能最初由明惠上人引進日本，其圖像源流與中國杭州地區盧舍那佛的圖像有密切的關係。本文在討論此新舊盧舍那佛圖像的緣起與流佈之餘，也討論在此中日文化交流的背景下，華嚴圖像如何與新的密教儀式與思想結合，形成日本在地化的過程。

This paper examines the transformation and reconstruction of icons and images of Vairocana at Todaiji from the ancient to medieval periods. I discuss the construction, deconstruction, and reconstruction of the giant gilded bronzed Buddha in the Buddha Hall from the 8th century to the 12th century, focusing on the cooperation between Japanese monk Chogen and the Chinese smith Chen Heqing. I also examine the newly emerging images of Vairocana in the 12th to 13th centuries, such as those found in the paintings of Sudhana, as well as Japanese monk Myoe's esoteric Buddhist interpretation of these images and their possible Chinese origin. This paper not only discusses the development and distribution of Vairocana images in Japan, but also illuminates the process of the localization of Vairocana in Japan against the background of broader Sino- Japanese culture exchange.