九想詩是以觀想屍體的九想觀為主題的漢詩，其創作最早可見於六朝。現存九想詩數量雖少，分佈地區卻極為廣闊，西至敦煌，東至日本。空海漢詩文集《性靈集》所收的一組〈九想詩〉與敦煌寫本中的〈九想詩〉在結構和修辭方面具有很多共同點，但是相較於敦煌本〈九想詩〉將佛經九想觀中關於死屍的描寫融入到從生至死整個生命過程之中，以此表現人生無常，《性靈集》本〈九想詩〉只有死後部分的描寫，更貼近於佛經中九想觀的修行實踐。《性靈集》本〈九想詩〉借空海之名在日本民間廣為流傳，在鐮倉時代關於不淨觀的說話中亦有提到，對日本的九想文藝發展起到了很大的影響。本文考察了日本平安朝時期空海信仰在《性靈集》本〈九想詩〉形成過程中起到的作用，並思考祖師信仰和詩歌形成的關係，探討這種關係在《性靈集》本〈九想詩〉中有著何種體現？〈九想詩〉載於《性靈集》第10 卷卷末。現存《性靈集》8 至10 卷是空海去世兩百年後，平安後期真言宗僧侶濟暹收集空海遺作編輯而成的，其中也包括了不少空海偽作。筆者認為《性靈集》本〈九想詩〉為濟暹或與其親近人士假託空海之名所作，並被濟暹編入〈弘法大師御作書目錄〉和空海個人漢詩文集，以期該詩通過空海之名得到流傳。為了突出空海之作，追求和空海其他著作的聯繫，《性靈集》本〈九想詩〉非常注重模仿《三教指歸》等作品中的文學表現。《性靈集》的流傳方式經歷了從手抄本向印刷本過渡的過程，在這期間，〈九想詩〉的文本也發生了變化。《性靈集》作為祖師個人文集，具有聖典意義，高野山出版《性靈集》和刻板時，更加需要確定具有權威性的底本。為了成就祖師聖典，編者大刀闊斧地刪句添句，對〈九想詩〉文本進行改造，這也體現了《性靈集》本〈九想詩〉的聖典化過程。

The Kuso-poem describes the physical process of bodily decay-the ＂nine stages of a decaying corpse.＂ The earliest existing poem of this kind was written in the 6th Century. Although few Kuso-poems existed to date, we can still infer from the wide geological distribution and the various forms of the surviving examples, that this genre was popular in China when Buddhism prevailed during Sui and Tang dynasties. Recovered over a broad region from Dunhuang in western China to Japan, it can be found in various forms of 5 syllable line, 7 syllable line and mixed meter poems. This paper deals with Japanese monk Kukai's treatise on poetry and prose, Shoryo-shu, which contains a special Kuso-poem in a cycle of nine poems, same as the versions found in Dunhuang. However, the Dunhuang versions mainly focus on presenting the whole life of a person, with minor description and discussion on death and corporeal decay, while the Kuso-poem in Shoryoshu describes in detail the nine stages of corporeal decay following the Buddhism sutras. This description of bodily decay involves many representations from Sango Shiiki written by Kukai. By examining the influence of Buddhist practice in Sango Shiiki and its impact on the Kusopoem in Shoryo-shu, I will investigate the relation between buddhist practice and literature rhetoric. It is possible to suggest that both Sango Shiiki and the Kuso-poem make reference to Buddhist Sutras, and apply in their conception familiar symbol of death from classical poems, so that Kuso can be accepted more easily by its readers. Accordingly, the emphasis has been shifted from the sadness of death to conquering the carnal desire and understanding the impermanence of life. The Kuso-poem in Sango Shiiki is suggested to be one of the many apocryphal works contained in the last three volumes of the treatise, which was compiled by monk Saisen at the end of Heian period two hundred years after the death of Kukai. However, this Kuso-poem may obtain authority under the name of this supposed author: the famed Japanese monk, scholar and poet Kukai, and therefore became popular in Japan during the Kamakura peoriod. In order to carry forward the thought of Shoryo-shu, I will also discuss the impact of Daishi Faith on the textual production of the Kusopoem in Shoryo-shu.