本文以日治時期臺灣花生栽培與花生油產銷情形為論述核心，希望藉由該產業的探討，試圖挖掘以往臺灣產業史研究較少觸及的榨油產業史。首先探討清代臺灣花生油生產體系的建立以及其與漢人經濟活動間之關係。研究顯示花生油從18世紀中葉以降，便成為臺灣除米、糖、藍靛等產業外之出口大宗，但開港通商後因煤油、鴉片大量輸入，促使花生油市場呈現萎縮、以及島內需求量成長的情形。另外，比較臺灣與中國大陸間日常生活用油的原料來源後，可發現臺灣可能為清帝國治理下，最早多元、普遍運用花生油的區域。 日治時期以後，花生雖不若米、糖等物產受到官方重視，但有見於花生為臺灣人普遍消費的嗜好食物、製油原料，加以煙草專賣治的施行、以及19世紀末歐美科學家發現花生油的多樣化用途。官方也嘗試提昇臺灣花生整體產量、榨油效率。以中央農業機關為主、地方農業試驗場為輔的官方部門，仍啟動相關調查事業與增產計畫。當中包括品種、耕種技術的改良方部分。雖使得臺灣花生於產質方面出現增長，但如觀察明治末期至大正初年花生、甘蔗爭地的情形，可發現花生得以持續增產，並非官方單向之功勞，農民自主性選擇亦為重要因素。整體而言，日治時期臺灣花生增產計畫的實行，官方於調查事業的成就，遠勝於改良計劃的結果。 榨油技術亦同，礙於花生原料供應、榨油時節限制等因素，加以新舊榨油設備於整體產能上並無甚大差異，造成新式榨油設備未能普及、也連帶影響大型製油株式會社的生存空間。該現像或可視為傳統榨油業者理性、審慎選擇下之結果。1930年代，挾帶龐大資本、官方軍需用油增產政策背書下的日本財閥投入臺灣榨油事業後，始出現穩定的大型製油株式會社。戰後初期的研究，多將日治時期臺灣榨油工業技術與規模未能突破的情形，歸結於「農業臺灣、工業日本」這樣區域分工政策的論點，便值得再行商榷。更進一步的說，日治時期臺灣的工業技術與經營形態的未見顯著發展的原因，是否應完全置於官方政策主導這樣的脈絡下來探討?透過臺灣花生製油設備以及經營情形的探討後，這樣的觀察脈絡或許亦有進一步討論的空間。最後，藉由觀察日治時期臺灣新式榨油設備未能發展的原因，可以清楚發現:新式榨油設備能否普遍運用，有著甚為複雜的因素，日治時期的臺灣，便受制於自然(花生供應受自然災害影響與榨油時節須配合花生採收)、商貿(花生移出日本與輸出國外)、官方產業政策(甘蔗栽種面積增大影響到花生栽種面積)、技術與經營成本(新式榨油設備不若舊式榨油設備來的絕對優越，但所需資本與維護成本較高)以及舊有習慣(臺灣多將花生連殼榨製)等層面的影響。 花生油的銷售情形，大抵仍延續清代以來的買賣、流通概況。不過，因日治時期後臺北煙草製造之需求，亦促使花生油於跨區域的流通時，皆集中於臺北的現象。煙草製造所需花生油之多寡，更直接影響到臺北、宜蘭等地油價的行情。這樣的情形至1930年代末進入戰爭時期後產生結構性之轉變。煙草製造之需求，也促使臺灣成為當時世界花生油運用模式下較為特殊的一員，更未被完全納入19世紀末到20世紀初世界花生油市場體系之中；有別於清代，日治時期官方亦因製造煙草之故，故開始介入花生油的買賣機制中，更將日資納入競爭行列。但無論官方以及日資，在整個花生油買賣的過程中，並未占有太大之優勢；反之，在歷次互動中呈現逐年衰退的現象。可以說，日治時期臺灣花生油的生產與運銷體系，仍延續清代之情形，主導權掌握於臺灣人手上；殖民者以及日人資本多處於一被動角色。

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.