明代萬曆年間，徑山寺院的重興，不啻為再續祖師慧燄之空間載體，《徑山志》表述「徑山中興之書」，以為法嗣，「紹明祖席，奉揚宗風」，以垂後世，「法幢之所繇豎，法寶之所繇傳」，以鑒十方隳頺之殿宇，得以重新。而於徑山刊刻藏經，不可不謂為「法輪再轉之機」。「從禪出教」，晚明《徑山藏》的刊刻，作為當時禪僧與佛教居士復興佛教的動力，倡議創刻方冊藏經之矢志，期以「法界無盡身雲，稱性而演普門法界修多羅」，令眾人有緣誦讀法藏，依佛典所詮之教法，見佛法身，了悟自性，而「藉教悟宗」。本文探討徑山禪寺、寂照庵、化城寺等三處刻經的歷程，包括紫柏大師等人參與刻藏的發願緣起，以及時空演變之經過，並發掘徑山刻藏的時代意義與文史成果。其中，看到「寺志」與「藏經」兩種佛教文獻的互用關係，也發現刊刻藏經與寺院重建，兩者之間相互帶動的影響。本文研究，旨在彰顯明末漢傳佛教的一件大事因緣。

Reconstructed during the Wanli era of the Ming Dynasty, Jingshan Monastery was regarded as the most probable place for reviving and spreading the wisdom of past Masters. And the carving and publication of the Jingshan Tripitaka was indeed a great opportunity to set the dharma wheel in motion once again. It was with the collaboration of monastics of the Chan school and lay people that the carving of the Jingshan Tripitaka was finally realized and Buddhism revived. Through investigation, it is found that not only is there a mutual interfusion between the Gazette and Tripitaka, but a mutual influence between the carving of Tripitaka and the reconstruction of the monastery. Through exploring their carving and publication history, from Jingshan Monastery to Jizhao Nunnery then to Huacheng Monastery, as well as the initial vow of Master Zibo and the later development, it is hoped that the cause and condition of such a great event could be rendered explicit.