本文主要探討宋代的羅漢信仰及其儀式，首先敘述羅漢信仰的性質和內涵，特別著重天台山羅漢傳說發展的討論，並且追究羅漢信仰流行的原因。唐、宋時期羅漢信仰和天台山有密切的關連，天台山是羅漢住處之說，係源於東晉僧人竺曇猷渡過天台石橋、見到聖寺神僧的故事發展而來。此一傳奇經歷南朝、隋、唐以迄於宋代，「竺曇猷」之名漸次轉化成「白道猷」，有兩個重要的關鍵：一是隋代有關智顗天台山傳奇記載的誤植，二是唐代白居易〈沃洲山禪院記〉一文，受晉、宋以來浙東文化圈氛圍的影響，誤以為竺曇猷是寫出絕佳詩篇的帛道猷，其後的記載多沿襲此文。次則敘述竺曇猷傳奇和羅漢信仰的連結，以及其內容的增廣。又，羅漢信仰流行和靈應故事有關，透過士人名宦撰寫贊頌、碑記的傳佈，是促進此信仰蓬勃興盛的重要原因。此外，宋代商業發達，商人在羅漢信仰發展中也扮演了重要的角色。本文後半段則根據各種文獻，並且輔以京都「大德寺宋本五百羅漢圖」，探討「羅漢供」的儀式。迄今學者大都認為此圖和水陸法會有關，實則此係「羅漢供」這個宗教活動中所使用的儀式繪畫，一如「水陸畫」之於水陸法會。此外，宋人以茶結乳花為羅漢應供的徵應，文末特別討論此一儀式中的「茶供」。

This article explores the development of the cult and rituals of arhats (luohan) during the Song dynasty (960-1279), with a focus on their importance in the history of Chinese Buddhism. It opens with a description of the main characteristics of the arhat cult, as well as the factors underlying their spread. There is also a consideration of different groupings of arhat and their significance, but the primary goal is to examine the history of arhat hagiographies and miracle tales. My research has focused on legends about the Eastern Jin monk Zhu Tanyou (fl. 376-397), who is said to have encountered a divine monk from a vanishing monastery while crossing a stone bridge at Mount Tiantai in Zhejiang. While Zhu’s legends became conflated with those of another monk named Bai Daoyou of the Sui dynasty (581-618), by the Tang dynasty (618-907) he had begun to be worshipped as an arhat, with further materials added to his hagiography during the Song. In addition, this article examines literati writings (especially eulogies) appended to paintings of arhat that were worshipped during Buddhist rituals, including the ways in which these works contributed to the spread of the arhat cult. There is also a discussion of merchants’ roles in the growth of the arhat cult during the commercial expansion of the Song dynasty. The article concludes with new perspectives on the “Five Hundred Arhats Paintings” (Wubai luohantu) preserved at Kyoto’s Daitokuji. This set of 100 paintings on Buddhist rituals, with 5 arhats portrayed in each work, was originally commissioned by the Hui’an Monastery in Mingzhou (Ningbo) between 1178 and 1188, and subsequently transmitted to Japan during the first half of the thirteenth century. While conventional wisdom has assumed that these paintings were associated to Buddhist Water and Land Dharma Assemblies (Shuilu fahui), my research reveals that they were a key component of arhat rituals featuring tea offerings.