《律相感通傳》之所以值得關注，不僅因其利用本土熟知的魂現和神啟的靈異故事，揭露世人關注的他界訊息，更因其重新賦予佛教神識與屢世修行的新內容與新詮釋，成為後世的一種流行的宗教修辭。該書無論是否為唐代道宣（596-667）晚年的絕筆之作，其一開始就揭舉出蘇韶形見和江泌女神誦經典的故事，作為神識輪迴的例證。從而透過天人來降的問答，歷數遠古神人陸玄暢等人自述身歷生天、護法的經歷，亟思打破古無教法、化非華俗和晉代始盛等迷思，並藉由鳩摩羅什自毘婆尸佛以來譯經的神話，重構佛法在華發展的歷史性與連貫性。該書的天啟象徵不僅在佛教史上有其重要性，其採取「道宣」介入敘述，與天人相感對話的神啟形式，突破傳統敘述文體多第三人稱全知觀點的敘述模式，經由敘述者道宣的自述，以及神人口述前世、今生的道宣，以召喚出歷史中的三種道宣：經持戒律、著述豐碩的道宣；僧祐轉世並以護教為己任的道宣；以及屆臨死亡、枯槁卻理智的道宣。構成一個多音的敘述體，並將佛教教理中的神、心、意、識等觀念敘事化，轉化為神來形見、神誦經典、天人來感、戒神守護等具體的故事，顛覆了過去學界對於中國古代敘事學過於單調的認知，故在重寫中國文學史上亦是意義非凡。

”Lüxiang Gantong Zhuan” 律相感通傳 is deserving of study not only because of its familiar supernatural stories but also-and more importantly-because of its new content and its new interpretation of the Buddhist shenshi 神識, or store consciousness, and multi-incarnation, two religious concepts popular with subsequent generations. It is believed that Daoxuan 道宣 wrote ”Lüxiang Gantong Zhuan” not long before his death, but the authorship of the text remains uncertain to this day. The text begins with the stories of Su Shao 蘇韶's visitation and Jiang Mi 江泌's daughter, who could chant sūtras as illustrations of incarnated store consciousness. Dialogues between the human narrator and the immortals are then employed to recount the stories of how Lu Xuanchang 陸玄暢 and other ancient immortals ascended to heaven and how they protected the dharma. These stories dispel the myths that Buddhist teachings did not exist in ancient China, that Buddhism did not accord with Chinese customs, and that Buddhism only started to flourish in the Jin Dynasty. To reconstruct Chinese Buddhism's historicity and continuity in China, the legends of how Kumārajīve translated the sūtras since Vipaśyin 毘婆尸佛 are also presented. The revelation symbolism in ”Lüxiang Gantong Zhuan” is both significant in the history of Buddhism and in the history of Chinese literature, especially in the context of a rewriting of the history of Chinese literature. The reason is that the text turns away from the traditional perspective of Chinese narrative, usually third-person omniscient, and adopts a polyphonic narration to create three historical Daoxuans instead. These Daoxuans are: the Daoxuan who was a scholar and the observer of the Vinaya, the Daoxuan who was Shenyou 僧祐's incarnation and a protector of Buddhism, and, lastly, the Daoxuan who was dying but was still clear in his mind. By intermingling narration and direct representation such as dialogue, the text transforms Buddhist ideas such as shen 神, xin 心, yi 意, and shi 識 into concrete story forms, subverting the past academic view of ancient Chinese narratology as being too simplistic and monotonous.