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廣元唐代石窟造像分期研究=A Study of the Periodization of the Images in Tang Period Grottoes at Guangyuan |
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| 著者 |
姚崇新 (著)=Yao, Chong-xin (au.)
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| 掲載誌 |
考古學報=Acta Archaeologica Sinica
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| 巻号 | n.4 |
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| 出版年月日 | 2007 |
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| ページ | 423 - 468 |
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| 出版者 | 中國社會科學院考古研究所 |
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| 出版サイト |
http://www.cass.net.cn/y_03/y_03_38kgyjs.html
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| 出版地 | 北京, 中國 [Beijing, China] |
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| 資料の種類 | 期刊論文=Journal Article |
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| 言語 | 中文=Chinese |
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| ノート | 作者單位：中山大學人類學系。 |
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| キーワード | 石窟造像; 廣元石窟; 佛殿窟; 中心柱; 皇澤寺; 供養人; 金牛道; 佛教藝術; 隋末唐初; 鼓腹 |
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| 抄録 | 一引言廣元位於長江重要支流嘉陵江上游的川、陝、甘三省交界處,北鄰秦隴,東近漢中,向為川北重鎮,素有"蜀門鎖鑰"之稱。由於特殊的地理位置以及唐代金牛道地位的凸顯,使廣元成為有唐一代佛教及佛教藝術入川的前碼頭之一。四川腹地的唐代石窟造像藝術直接受到廣元的影響。因此,研究廣元石窟造像成為研究四川唐代石窟造像的關鍵所在。然而,佛教及佛教藝術決不是唐代以後才傳入廣元的。佛教何時傳入廣元,史無明文,直到道宣的《續高僧傳》中才間接提及隋末唐初廣元寺院及
After the High Tang period the creation of Buddhist grotto images in China was gradually shifted from the northern Central Plains to the southwest regions and continued to flourish constantly down to the Song period.As a result,Sichuan became the key region of researching into the grotto images creating art of the High Tang to the Song periods.Thanks to its special position and the outstanding role of its Jinniu Road,Guangyuan functioned as the"fore-port"for Tang Buddhist art to be spread into Sichuan.Previously little attention was paid to Guangyuan grotto images in academic circles;and researches in this field stayed at the initial stage.Based on a large amount of first-hand material from surveys and using the archaeological typological method with literal records taken into account,the present paper makes a study of the periodization of the Tang grotto images discovered in Guangyuan. Creation of grotto images in Guanyuan was swiftly developed after this area entered the Tang period.During the whole Tang Dynasty,it underwent three phases of development:The first phase was from the beginning of the Tang period to Wu Zetian’s reign,when Guangyuan saw the first height of grotto opening.The second phase lasted roughly from Ruizong’s reign to the 10th year of Xuanzong’s Tianbao reign,when Guangyuan grotto image creation was in its prime.The third phase ranged roughly from AD 750 to 850,when this art showed obviously a declining tendency.The first phase can be further divided into two stages,which cover roughly the Wude and Zhenguan reigns and the Gaozong and Wu Zetian reigns respectively.From about the mid 9th century,grotto image creation in Guangyuan came to its thorough fall.The direct factors of this were that there was no extensive surplus cliff-sides suitable for opening grottoes and making images and that the heart of grotto image creation in Sichuan was moved southward from the mid and late Tang period. |
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| 目次 | 一 引言 423
二 窟龕與造像的類型 424
(一) 窟龕形制 424
1. 窟形 424
2. 龕形 424
(二) 造像特徵 426
1. 佛 426
2. 菩薩 430
(三) 造像組合 432
1.一鋪三尊式 432
2. 一鋪五尊式 432
3. 一鋪七尊式 432
4. 一鋪九尊式 432
5. 一鋪十一尊式 432
三 窟龕與造像的分期與年代 432
(一) 窟龕與造像的分組 432
(二) 龕像組的早晚序列 433
(三) 窟龕與造像的分期 435
1. 窟龕形制的演化 435
2. 造像特徵的演化 436
3. 造像組合的演化 437
(四) 各期龕像的特徵 437
四 石窟開鑿的歷史背景 445
注释 449 |
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| ISSN | 04532902 (P); 04532902 (E) |
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| 研究種類 | 雕塑造像 |
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| 研究年代 | 隋代; 唐代 |
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| 研究地域 | 中國 |
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| ヒット数 | 222 |
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| 作成日 | 2017.03.22 |
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| 更新日期 | 2019.10.07 |
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