觀音靈驗故事的收集及編纂早在魏晉南北朝(公元四世紀)就已開始,一直到今天, 還不斷進行。個人認為靈驗記乃是推進觀音信仰的重要媒介之一。本文更提出一個理論:靈驗 記也在觀音中國化上,發生了重要的作用。本文在說明以上兩個假設時,提出並解答如下的幾 個問題:第一,歷代靈驗記的編纂者為何人?出家與在家的編者在他們取材時,是否有所不同? 士大夫在推廣觀音信仰上曾扮演何種角色?第二,觀音向何人示現及以何種型態示現?在夢中 或在平常狀態?男相或女相?僧相或居士相?觀音救人於何種患難,施信徒何種利益?第三,在觀 音像及造像學上,它們跟靈驗故事中描寫的靈異經驗,有無關係?有何種關係?第四,靈驗記的 組織原則是什麼?是根據某個經典的有關觀音威力的模式嗎?還是故事與故事之間並沒有明顯 的關係?第五,編纂於清代的靈驗記跟早期編纂的靈驗記有什麼不同?於此不同中那些反映了 觀音信仰本身的發展,那些則反映了歷史及社會因素產生的新的憂慮及希望?

　　　　　Miracle stories about Kuan-yin began to be compiled in the fourth century and continue to be collected and circulated down to the present day. In this article I discuss how the miracle tale collections served as a medium for the domestication of Kuan-yin by focusing on several questions. First of all, who were the compilers? Is there any difference in the choices made on the selections between a monk compilor and that of a lay person? What is the role of literati as promoters of the belief in Kuan-yin? Second, to whom does Kuan-Yin appear and how does the bodhisattva appear: in dreams or in broad daylight? As male or female? Monk or lay person? From what dangers does Kuan-yin rescue the believer and what benefits does the bodhisattva bestow? Third, what is the connection between icons, visions and the changing iconography of Kuan-yin? Fourth, how are the collections organized? are the individual stories simply listed one after another without any clear organizational principle? are they categorized to fit a scriptural paradigm and thereby serve to provide evidential proof for the truth of the sutra? and finally, compared to the early collections, do the later collections show marked departures reflecting historical changes effected both by the new developments of the cult and new anxieties and hopes of the believers?