摘要
麦积山第126窟为中小型平面方形窟,其形制在麦积山北魏晚期窟龛中极具代表性,特别是窟内主尊胁侍造像组合中表现出的非对称性现象,以及一铺五身组合样式,同时期大量再修痕迹等,对于认识和了解麦积山石窟北魏晚期至西魏初年佛教造像艺术发展演变规律及其渊源,以及同时期窟龛年代等问题具有重要意义和参考价值。本文拟在前人相关研究基础上提出自己的认识和看法,敬请指教。
Cave 126 of the Maijishan Grottoes was roughly constructed from the late Northern Wei to the early Western Wei periods.In comparison to the contemporary Fa Hua statuary system,primarily centered around the three Buddhas,this cave exhibits a novel combination of subject matter.It further evolves from the previous emphasis on illustrating the Buddha expounding the Fa Hua Sutra through representations of Shakyamuni and the Many Treasures Buddhas.Instead,it advances to a portrayal of the core concept of the fusion of the three vehicles into one,as outlined in the Fa Hua ideology,through depictions ofśrāvakas,pratyekabuddhas,bodhisattvas,and other figures.This signifies that the creators of the cave possessed profound Buddhist knowledge.Simultaneously,an examination reveals distinct signs of two subsequent renovations in a short period of time for this cave,possibly closely linked to the societal upheavals occurring in the Qinzhou region during the late Northern Wei era.
作者
孙晓峰
Sun Xiaofeng(Institute of Maijishan Grotto Art,Dunhuang Academy)
出处
《丝绸之路研究集刊》
2023年第1期206-230,585,共26页
Journal of the Silk Road Studies
基金
国家社科基金重点项目“麦积山石窟第120—127窟考古报告”(21AKG005)阶段性成果。
