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四川廣元千佛崖武周至開元時期佛教造像研究=A Study on the Changes in Buddhist Images of the Qianfoya in Guangyuan, Sichuan, from the Reign of Empress Wu to the Kaiyuan Era
Author 八木春生 (著)=Yagi, Haruo (au.) ; 姚瑤 (譯)=Yao, Yao (tr.)
Source 敦煌研究=Dunhuang Research
Volumen.2 (總號=n.180)
Date2020
Pages34 - 48
Publisher敦煌研究編輯部
Publisher Url http://www.dha.ac.cn/
Location蘭州, 中國 [Lanzhou, China]
Content type期刊論文=Journal Article
Language中文=Chinese
Note作者單位:(日)筑波大學藝術系;東南大學藝術學院
Keyword武周時期=reign of Empress Wu; 開元時期=Kaiyuan era; 廣元千佛崖=Qianfoya in Guangyuan; 佛教造像=Buddhist images
Abstract武周至開元時期(690—740年左右),四川廣元千佛崖石窟造像活動興盛。期間,千佛崖諸窟的營建大致可分為三期:第一期為690至700年代,以第535窟為代表,造像諸形式上可見650年代皇澤寺石窟的強烈影響;第二期為710年代初至720年代前半,形成了以第366、513窟為代表的兩大造像系統;第三期約從720年代前中期至741年,出現了完全融合第二期兩大系統形式的造像風格。這應是廣元千佛崖造像體係自立性發展的結果。

From the reign of Emperor Wu to the Kaiyuan era( 690—740), the construction of Buddhist images at Qianfoya in Guangyuan, Sichuan, was very active. During this period, the construction of the caves can be divided into three phases. Caves of Phase Ⅰ(690—700 CE), represented by cave 535, show in the forms of their images a strong influence from the Huangzesi Grottoes dating to 650 CE. Caves of phase Ⅱ(from the early 710 s-to the first half of the 720 s) are split between two image systems that can be respectively represented by caves 366 and 513. Caves of Phase Ⅲ( from the mid—720 s to 741) exhibit an image style that has combined the two systems formed in Phase II. This is most likely the outcome of the independent development of the Qianfoya image system.
Table of contents一 第一期(690至700年代) 35
1. 第535窟(蓮花洞) 35
a.正壁(東壁)造像 35
b.左(南)、右(北)壁造像 35
2. 第493窟(神龍窟) 36
二 第二期(710年代初至720年代前半) 37
1. 第366窟(菩提瑞像窟,圖5a、5b) 37
2. 第513窟(韋抗窟) 39
3. 第211窟(蘇頲龕,圖10) 41
4. 第150龕 42
三 第三期(720年代前中期至741年左右) 42
1. 第213龕 42
2. 第744窟(牟尼閣,圖13) 43
3. 第689窟 44
4. 第86窟(阿彌陀窟) 45
四 廣元千佛崖石窟的發展過程 46
1. 第一期 46
2. 第二期 47
3. 第三期(第二期兩種系統的融合) 47
4. 第三期諸窟的營建年代 48
結語 48
ISSN10004106 (P)
Hits622
Created date2020.11.10



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