本論文以藏族的宗教典籍為主要依據，討論隱藏於藏地兩大系統性宗教--佛教與雍仲苯教--之下的原始信仰元素，以及該信仰元素反映在俗民生活、神靈信仰觀念與宗教祭祀儀式之中的情形。全文的基本觀念建立在「藏族系統性宗教的儀式對於宗教典籍、儀軌等，有著高度依附的事實」之上，試圖從常為藏傳佛教寧瑪派的信徒們所使用的宗教儀軌之整理、分析工作中，歸納出源自非佛教體系的藏族原始神靈信仰觀念、其所賴以運作的邏輯，以及人們的生活如何受到這些神靈觀點的影響。 論文的章節安排方面，除了緒論與結論兩篇之外，共分為五章、14節，每節基本包括三個以上的問題意識或討論主題。全文採夾敘夾議的方式，從教派、教義、儀式、宗教文獻、信仰心理、社會風俗與宗教禁忌等層面切入，針對信仰觀念進行廣泛、細緻的探討。 在第一章中，首先就藏族社會的宗教全貌進行描述，主要將之分為做為基底的原始信仰、佛苯兩種系統性宗教三大類加以分析，從此展開全文。原始信仰被兩種系統性宗教吸收後，留存在系統性宗教的儀式之中，構成了本論文第三、四、五章所側重探討的主題。而第一章除了按照時間序列說明了吐蕃王朝建立以來至今的佛教發展情形，還特別介紹了寧瑪派的發展與教派特色。第二章則介紹了早於佛教傳入藏地之前便以主導社會政治與文化的「苯波信仰」，將其自原始信仰到系統性宗教之間的發展歷程，以及主要的教義內容、特別是與巫術和原始信仰有關的部分進行了介紹。第三章的前兩節中，則首先敘明了宗教文獻所具備的研究價值、文獻對儀式產生的主導意義，還有以所謂「伏藏」文獻為主的宗教儀式分類；第三節則以田野紀錄，說明儀式進行的實際過程，並先為下兩章關於信仰概念與神靈祭祀儀式的主題鋪路。在第四、五兩章中，先從個人內在的「自身有靈觀」與「個人和生命際遇」兩方面，說明抽象的信仰觀念如何影響藏族的俗民生活，並且就相關的宗教儀式進行詳細的說明；從文本分析中，析離出佛教儀軌中本來屬於原始信仰、並與苯波信仰具共通性的信仰元素。第五章則探討「人與外在神靈的互動」。從祈禱神靈、布施鬼類和迴避神靈傷害等儀式行為，說明以三界神靈崇拜為主的信仰觀念，並且就護法神崇拜中的原始信仰、神靈分類方式，提出了有別於前人研究的方法與觀點。

銅色吉祥山 (Copper-Coloured Mountain)，藏音「桑東巴日」(Zangdok Palri) (zangs mdog dpal ri)，為寧瑪派傳承祖師－蓮花生大士的藏傳淨土，並且是專屬西藏所獨有且唯一以「聖山」形相方式呈現，將聖山與淨土結合，可以視為「聖山化的淨土信仰」。 此鄔金淨土與其他諸佛淨土不同之處有二：首先是，銅色吉祥山淨土，不在遙遠的他方虛空處，而是存在於世間，眾生所居住的南瞻部洲。繼之，於蓮師傳記所述，銅色吉祥山淨土的前身，本為食人羅剎居住的恐怖之地。蓮花生大士將羅剎國，轉化成清淨的圓滿淨土，即為蓮師悲智雙運的展現、殊勝伏藏寶地，更是西藏宗教傳統中獨有的純藏式淨土，寧瑪派傳承伏藏師與修行者，欲意通往的神聖究竟皈依處。 銅色吉祥山，以地行剎土的形式化現。山形，狀如倒立的心臟。山的底部，深達地底龍王的國界；山的半山腰處，是空行剎土；山的頂峰，直入梵天之境。整座銅色吉祥山，受藍色大海與羅剎諸島所圍繞。山中虹光如雲，廣大的平原處，矗有一座由四種珍寶，象徵法、報、化三身圓成的三層式蓮花光越量宮殿，圍繞各式神尊護法與空行聖眾蓮師，共護擁於虹光界的本尊－蓮花生大士。 本論文以銅色吉祥山淨土為母題，從地方/空間的視角，研究伏藏傳記的文字傳統、不丹壁畫與西藏唐卡的圖像傳統，以及香港舉辦銅色吉祥山法會的儀式實踐傳統，瞭解銅色吉祥山淨土，透過三大傳統多重共構而成的藏傳淨土。文字、圖像與儀式三大傳統，於第三、四、五章進行探討，主要從六個面向探討與延伸：其一，在佛教經典中，展現極致象徵的視角、多方詮釋的空間意涵。其二，於大伏藏師淨觀之相，是自然地景與神聖空間，動態交融而入的掘藏寶地，實得蓮師與空行殊勝法教。其三，圖像傳統中，瞭解重要構圖元素、宮殿本尊的多種配置、蓮師形態與法相的殊異。 其四，在跨圖像研究中，以蓮師八神變相為主題，過度至金剛舞儀式時，兩傳統呈現動態空間的交應。其五，伏藏師秋吉林巴淨觀之相為例，比較蓮師淨土諸相，如何共譯於傳記與圖像。最後，從香港蓮師法會田調，記錄銅色吉祥山如何透過儀式實踐，具象地再現出蓮師立體壇城，分析儀式中聖俗地方與空間的再造與轉化。 結論部分，以七個觀點總結，瞭解並再次確認：銅色吉祥山淨土，是三大傳統多重共構而成的藏傳淨土。以此基礎，更進一步以「地方」與「空間」的視角，帶出三個基本的原則：多重性、互融性與創造性。證實筆者的假設：銅色吉祥山淨土，不只是多重共構的藏傳淨土，更是神聖地方/空間並存與交融的多重共構體。 進一步歸納全文，分析銅色吉祥山淨土，其存在與化現的真實所在處。最末持以結論為研究立基，展望未來學術研究，繼續深入蓮師淨土，亦延伸至其他藏傳淨土的探究與比較。 透過三大藏傳佛教重要的傳統中的技藝表現，了解這三大傳統支撐、延續並強化蓮師信仰的傳統，同時也共構出專屬於西藏獨有的蓮花生大士銅色吉祥山淨土的大傳統，即是自成一個聖山空間化淨土信仰的傳統特色。銅色吉祥山作為自身傳統的中心點，一處無法被真實且具體定位的所在處，讓蓮師淨土成為普現於世間每處的人間淨土，是蓮花生大士最善巧方便與智慧的莊嚴相。 / The Copper-Coloured Mountain, pronounced as Zangdok Palri (zangs mdog dpal ri) in Tibet, is the Tibetan pureland of Padmasambhava who is the founder of the Nyingma Tradition. The Copper-Coloured Mountain pureland manifests itself in the form of a mountain with the combination of sacred mountain and pureland which can be seen as “a sacred mountainized belief of pureland.” The pureland of Copper-Coloured Mountain is to be distinguished from other purelands of Buddha for two reasons: Firstly, this pureland is not remotely located in a realm of void space apart from our world. It existed in the Jambudvīpa inhabited with all beings instead. Secondly, according to the accounts of Padmasambhava’s biographies, the Copper-Coloured Mountain was originally inhabited by fierce flesh-eating rākṣasas. Padmasambhava transformed the kingdom of Raksas into a pureland of peace and perfection. This origin is founded not only upon a revelation from Guru Rinpoche’s unity of compassion and wisdom of a sacred place of “Revealed Treasures” (terma), but also has the real uniqueness of being a purely Tibetan pureland and an ultimate divine refuge for all tertöns and practitioners in the Nyingma Tradition of Tibetan Buddhism. The Copper-Coloured Mountain manifests itself in the form of an island and is shaped like an inverted heart. The bottom of the mountain penetrates deeply into the underground of Naga’s realm. On the mountainside, it belongs to the realm of daka and dākinī. On the peak, the mountain reaches the realm of Brahma. The entire mountain is surrounded by a blue sea and the islands of the Rakshasa. In the vast plains of the mountain, Padmasambhava abides in a large three-storied edifice called The Lotus Light Palace. Made out of four gems, it is surrounded and protected by various deities and dharmapāla and also symbolizes the Trikāya of a Buddha, namely dharmakāya, sambhogakāya and nirmānakāya. The dissertation aims to analyze the “space” and “place” in the motif of the Copper-Coloured Mountain Pureland through an investigation into three main Buddhist traditional sources, namely the tertöns’ biographies of Revealed Treasures, the paintings from Bhutan murals and Tibetan thangkas, and my own field research in the ritual practices of the Copper-Coloured Mountain in Hong Kong during the year 2014. It is found, as explained in Chapters Three, Four and Five respectively, that the Copper-Coloured Mountain Pureland is multiply-constructed within the three traditions from six main perspectives: first, in the Buddhist scriptures, delicate symbols are used in interpreting the multi-spaces and places of the Copper-Coloured Mountain; second, in tertöns’ pure visions, the Copper-Coloured Mountain becomes a mixed-space of landscapes and sacred spaces for gaining the mind-treasures from Padmasambhava and his dākinī consorts; third, painting traditions convey the vital elements of its composition, such as the palace of the deities in multiple configurations and different figures in the appearances of Padmasambhava; fourth, in translation studies of the iconography, the paintings of Guru Tsangye (gu ru mtshan brgyad) reveal the varja dances of Padmasambhava with dynamic spaces for dialogues in both traditions; fifth, in Chokgyur Lingpa’s pure visions, both autobiographies and paintings engender differences and similarities in depictions of the journey into the Copper-Coloured mountain; and, finally, field researches of contemporary ritual in Hong Kong record the practices in visualizing a three-dimensional mandala of a three-storied Lotus Light palace that embodies holy and secular places/spaces-making and transformation. The conclusion comprises seven points confirming the understanding of the Copper-Coloured Mountain Pureland as a configuration multiply-constructed by three traditions. Based on the analysis of “place” and “space” in the three distinct traditions, the hypothesis concerning the basic principles of Multiplicity, Interfusion and Creativity is substantiated. The Copper-Coloured Mountain Pureland is not only a configuration built out of three traditions, but remains a sacred place/space coexisting and integrated into a single object of multiple constructions. Furthermore, in the conclusion of my research of the Copper-Coloured Mountain Pureland, I suggest the authentic locations of the Copper-Colored Mountain Pureland and look forward to further investigating Padmasambhava’s pureland and extending the study with comparisons to other Tibetan purelands of Buddhas in future research. Through the three main Tibetan Buddhist traditional sources of its important crafts in the Copper-Colored Mountain Pureland, it is recognized that the traditional belief of Padmasambhava receives the agency of sustainability, continuity and consolidation. Also, the Copper-Coloured Mountain Pureland manifests itself as a multiply-constructed tradition in a sacred form of a Tibetan Buddhist mountainized space of pureland belief. The Copper-Coloured Mountain Pureland reveals a sacred pivot for its tradition where cannot be able to locate in an authentic and specific site. For this undiscoverable reason, the Copper-Colored Mountain Pureland becomes an universally revealed pureland on our earth and the very way of wisdom and compassion from Padmasambhava’s solemnity.