【作者】 王友奎

【Author】 WANG Youkui;Editorial Department, Dunhuang Academy;Academy of Art & Design, Tsinghua University;

【機構】 敦煌研究院編輯部清華大學美術學院

【摘要】 云岡石窟第11—13窟是開鑿于云岡第二期(約470—495)的一組洞窟,其內部造像可區分為一體設計與非一體設計兩種。第12窟整體出于一體設計,其主室中軸線及前室東西壁設置"釋迦多寶佛+釋迦佛+彌勒(菩薩、佛)"之圖像組合,與第二期前段第7—10窟圖像思想一脈相承。第13窟大致存在整體規劃,并以北壁主尊交腳彌勒菩薩為中心,表述彌勒上生信仰。該窟兩側壁中層龕像及第11窟造像并非開窟時一體設計。通過分析其中部分佛龕的組合情況可知,當時通過信仰大乘佛法而往生兜率天并最終成佛的思想,在一般信眾中亦普遍流行。

【Abstract】 Caves 11—13 at the Yungang Grottoes were constructed as a group during a secondary phase of construction. The sculptures in these caves can be divided into the two types of integrated and non-integrated design. In cave 12, which is of integrated design, the image combination of a Jeweled Buddha, Prabhutaratna Buddha, Sakyamuni Buddha, and Maitrya(Buddha or bodhisattva) was installed on the central axis of the main chamber and on the eastern and western walls of the front chamber. The main idea of these themes is similar to those depicted in caves 7—10, which were constructed at the beginning of the same second phase. More broadly speaking, the integrated design of cave 13 focuses on the crossed-legged image of Maitreya bodhisattva on the north wall conveying the Buddhist idea that one may be reborn into Tusita Heaven. The images carved on the middle level of both side walls of cave 13 and cave 11 are of non-integrated design. An analysis of this group of shrines suggests that the idea of being reborn into the Tusita Pure Land and obtaining Buddhahood through devout belief in Mahayana Buddhism was very popular among common Buddhist followers.

  • 【分類號】K879.22
  • 【下載頻次】364
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