《長阿含經．遊行經》是描寫佛陀涅槃事件的初期佛教經典。基於經典文本的敘事性以及故事主角的宗教性，《遊行經》可說是具有敘事性質的宗教文學作品。據此，本文擬藉由敘事學與宗教學兩種空間觀，探討雙重視角下《遊行經》空間描述的語義內涵。正文第二節以故事的結構空間為論述核心，探討《遊行經》敘事中的時間空間化敘述模式，並說明故事如何運用結構空間的轉化來推進情節發展。最後從事件地點和人物屬性的關係，闡明《遊行經》隱含的俗與聖兩種宗教空間秩序。第三節分別拘尸城和天冠寺為例，討論《遊行經》中被突顯出來成為描述對象的「主題化空間」。故事書寫佛陀過去生為轉輪聖王、現在世入於涅槃、未來成為佛教聖地，此三世生命在同一空間的交會，使拘尸城作為佛陀涅槃處由凡俗空間「聖化」為佛教聖地。其次，佛陀葬儀過程中舉牀不動、佛現雙足、棺木自燃等事件，建構天冠寺人天交往、異質同存的主題化空間。佛陀的「遊行」不僅是王舍城、毘舍離、竹林叢等結構性空間連綴出的遊化足跡，也包含佛陀從過去、現在、到未來於三世時間中的輪迴行旅，更隱喻佛陀的教化遍行三界空間的有情眾生，此三維空間敘事向度建構出佛陀入凡超聖的「遊行」立體圖貌

The Mahāparinibbānasutta of the Dirghagama is the early Buddhist sutra describing Buddha's nirvana. The Mahāparinibbānasutta is a religious literature work with the character of Narrative upon the text's Narration and the character's religiosity, therefore, this study will explore the meaning of spatial description in Mahāparinibbānasutta through the two spatial views in Narratology and Religious Studies. The second section of the main text will focus on the structural space of the story discussing the descriptive way of time-spacialization in Mahāparinibbānasutta and explaining how the story applies the transformation of structural space to advance the storyline development. At last, expounding the spatial order between convention and sacredness in Mahāparinibbānasutta from the relationship between event sites and character's attributes. The third section will exam the examples of Kusinagara and Makutabandhana-cetiya and discuss the Themed Space highlighted as the object of description in Mahāparinibbānasutta. The stories describe Buddha was a wheel-turning sage king in past life, entered into nirvana in this life and the nirvana place becomes a Buddhist holy ground in future life. That the three lives intersect in one space enables Kusinagara as Buddha's nirvana place from conventional space into a sacred holy ground. In addition, what happened in Buddha's burial such as not being able to lift the bed, appearing Buddha's feet and the coffin's spontaneous combustion constructs Makutabandhana-cetiya's Themed Space with the characters of human-god's interweaving and co-existence in Heterogeneity. Buddha's wander is not only including the footprint of teaching in wander linked by the structural spaces such as Rajagṛha, Vaisali and Bamboo Grove, but also including the transmigration trip in Buddha's three lives. Other than that, it represents Buddha's teaching for sentient being in three realms metaphorically, the three -dimension of spatial narratinity constructs the concrete picture of Buddha's entering conventional world and exceeding the sacredness in wander