佛教四大天王的職能從最初來自印度教的方位神開始，進階為佛陀的守護者、佛教的護法，其原型是藥叉。在流傳的過程中，爲回應不同地區不同信衆的期盼，職能不斷的增加，眷屬也跟著擴充。由於地理環境的緣故，強悍的騎馬民族如匈奴、突厥、回鶻、吐蕃征戰不斷弱肉強食；為鞏固王權產生了佛王信仰，北方毗沙門天王於是出綫，開啓了獨尊信仰的歷程。尤其在西域的于闐國，甚至量身定做經典，直接讓于闐國王成爲毗沙門天王的後胤。于闐國王也確實威猛不負衆望，旌旗戰鼓上畫有毗沙門天王，勇猛善戰，具備高明的外交手腕，與鄰國締結盟約婚約，並成爲唐帝國的忠誠屬國，多次互相出兵協助對方抵禦外敵；國祚長達1238年，史上少見。 開元三大士之一的不空，翻譯的《毗沙門天王經》掀起漢地對毗沙門信仰的濫觴。唐朝與于闐國友誼深篤，時常共赴國難；唐皇帝也深信毗沙門天王的威力，開始學習于闐國供奉毗沙門，並將毗沙門圖像置於旌旗或戰鼓上提振士氣，下令全國州府道縣安置毗沙門在城門西北角。于闐國毗沙門的特殊形象在漢地被承襲，並不斷創新以符合當地當時的需要。可惜經歷了多次戰亂與殘酷的毀佛事件，殘存遺跡不多。 然而唐皇帝夢見毗沙門與毗沙門的神跡被傳頌、歌詠的記載，無論從史書、佛教典籍、雜記或碑銘，其數量之龐大使人不得不相信，祂確實存在。 在日本東寺，有一尊穿西域式鎧甲、神情威猛，叫做「兜跋毗沙門」的天王。對於祂的來歷與名稱研究很多，但學界尚未達成共識。本文基於前人的研究成果，加上近年的考古發現，將造像分類，分析「兜跋毗沙門」的造像元素，歸納出屬於于闐原創，或是經過漢地改造而產生的，其中龜甲紋、地神與夜叉三尊像至為關鍵。「兜跋」經過漢地的多次變身後才流傳到日本的。接著探討「兜跋」 可能的含義，提出個人心得。「鬥（礻+鬥）襏」確實符合對「兜跋」外形的描述，而「兜跋毗沙門」也可以解釋為「拓跋毗沙門」，也就是「唐王朝的毗沙門」。 The functionalities of the Lokapāla （Four Heavily Kings）of Buddhism started from Dikpāla of Hinduism. They are the guardians of Buddha and the protector of Dharma. Their original forms were Yaksas. In the process of spreading, in response to the expectations of different believers in different regions, its functions continued to increase, and its family members also expanded accordingly. Due to the geographical environment, the powerful horse-riding peoples such as the Huns, Turks, Uyghurs, and Tubos fought against the weak frequently. In order to consolidate the king's power, the faith in the Buddha King was born. Bishamon in the north stood out and the worship of single statue was then formed. Especially in the Kingdom of Khotan, tailor-made sutras, directly make the King of Khotan the descendant of Bishamon. Kings of Khotan was indeed mighty and bravery. Bishamon was painted on banners and drums. Kings of Khotan had excellent diplomatic skills, they concluded alliances and marriages with neighboring countries. Khotan became loyal vassals of the Tang Empire. They sent troops, helpped each other to resist foreign enemies. Bu Kong, one of the three great masters of the Kaiyuan period, translated “Heavenly King Bishamon Sutra”, which triggered the belief in Bishamon. Tang Emperors began to imitate Khotan in worshiping Bishamon, placed images of Bishamon on banners and drums to boost morale, ordered the prefectures and counties across the nation to place Bishamon in the northwest corner of the city gates. Bishamon in China was inherited from the Khotan, and was constantly innovated to meet domestic needs. Unfortunately, after many wars and cruel destruction of the Buddha, there are not many remaining ruins. However, records of Emperors’ dream of Bishamon, miracles being praised, poetries are dipicted in history books, Buddhist sutras, miscellaneous notes and inscriptions. It is believed that He did exist. In Toji Temple of Japan, there is a heavenly king named “ Tobatsu Bishamonten” who wears Western-style armor and has a majestic expression. There are many studies on His origin and name, but no consensus has been reached. This article classifies, analyzes the elements of the images, concludes that which were created in Khotan, and which were modified by China；tortoiseshell figure、Pṛthivī with two Yaksas are crucial to the results. “ Tobatsu” can also be interpreted as “Tabγač”. Then “ Tobatsu Bishamonten” will be equivalent to “Bishamonten of the Tang Dynasty”.
