龍門石窟唐代造像的分期與類型=PERIODIZATION AND CLASSIFICATION OF TANG DYNASTY SCULPTURE AT LONGMEN GROTTOES

丁明夷

Author

丁明夷

Source

考古學報=Acta Archaeologica Sinica

Volume

n.4

Date

1979

Pages

519 - 546

Publisher

中國社會科學院考古研究所

Publisher Url

http://www.cass.net.cn/y_03/y_03_38kgyjs.html

Location

北京, 中國 [Beijing, China]

Content type

期刊論文=Journal Article

Language

中文=Chinese

Keyword

唐代; 河南; 洛陽龍門石窟; 雕刻

Abstract

前言龍門石窟的研究,至今還不多。前人的工作,多偏重在資料的收集,如碑刻銘記的墨拓整理,造象圖錄的影印、出版等。近人(主要是日本學者)對一些較大較著名的唐窟,進行過一些初步的研究,對龍門唐窟的營造、形制等,也寫了一些介紹文章。就中以水野清一、長廣敏雄合著的《龍門石窟研究》一書較有成就。還有一些人,從藝術史的角度,進行了研究;或從佛教史的角度,考證了個別的題材問題。至于作為石窟寺研究的基礎工作——-考古學的研究工作,則基本上還沒有進行。龍門唐代窟龕占全部窟龕的一半以上。唐代窟龕中,小龕居多。這些為研究唐代宗教、藝術、建筑、社會階級關系及社會生活各方面,提供了珍貴的實物資料。本文試圖利用考古學方法,對龍門唐代窟龕造像的分期與類型,進行初步的探索。

Based on the available chronological records, the Tang Dynasty sculpture at Longmen Grottoes can be classified into two types: Buddha statues and Bodhisattva statues-including both large and small ones-and divided into three stages: the period between Emperor Tai Zong and Emperor Gao Zong; the Wu Zetian period; the period between Emperor Xuan Zong and Emperor De Zong. In the first stage the characteristic type of the Tang Dynasty sculpture was in the process of formation. In the second stage it reached the peak time but went downhill in the third stage.Judging from the Tang statues at Longmen, several schools of Buddhism prevailed in the Luoyang area at that time. They were the Pure Land School, the Hua Yan (Avatamsa) school, the Three Stages school, the Chan (meditative) school and the Tantra (esoteric). In the Pure Land school, Amitabha (the Buddha of Immeasurable Splendour) and his cult is widespread. A set of nine statues is the main form of the Pure Land school grottoes at Longmen in the Tang Dynasty.The rise and development of the main Buddhist schools in the Tang Dynasty is closely linked with the promotion and support from the ruling class headed by feudal emperors. It also has much to do with the class-struggle situation throughout the country. In the late Tang period the Buddhist art went deep into the lower classes and gradually became secularized and democratized. This trend reflected, to some extent, the demands of the people for running away from the miserable reality and for a happy life.

Table of contents

前言 519
一、造像的形式 520
(一)小像 520
(二)大像 529
(三)小結 530
二、造像的分期 536
三、造像的類型 540
四、結語 544

ISSN

04532902 (P); 04532902 (E)

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