四川夾江千佛岩摩崖造像初步研究

于春 (著)=Yu, Chun (au.)

Author

于春 (著)=Yu, Chun (au.)

Source

考古與文物=Archaeology and Cultural Relics

Volume

n.3

Date

2014.06

Pages

85 - 96

Publisher

陜西省考古研究所

Location

西安, 中國 [Xi'an, China]

Content type

期刊論文=Journal Article

Language

中文=Chinese

Note

作者單位：西北大學文化遺產學院、西安美術學院中國藝術與考古研究所

Keyword

夾江=Jiajiang; 千佛岩=The Qianfoyan Rock grottos; 摩崖造像=Mountain rock carvings

Abstract

夾江千佛岩現存摩崖造像165龕，分為六個造像區，初步分為五期：盛唐、中唐、晚唐、五代~宋初、明代。中晚唐~五代造像以中型龕為主；明代造像絕大部分為微型龕。中晚唐~五代龕窟龕楣以帶三角斜撐為主；明代龕窟龕楣均無三角斜撐。特殊造像題材有三佛並坐、四佛並坐、淨土變、阿彌陀佛與觀音地藏並列、觀音地藏並列、雙觀音、地藏獨尊、毗沙門天王、千手觀音、三聖僧、塔等。各區的造像中均存在後代加裝和改刻現象。

The Qianfoyan Rock grottos contain 165 caves, which can be further divided into six sculpture zones. The chronology of these caves can be subdivided into 5 phases representing the mighty Tang Middle Tang, Late Tang, Five Dynasties and Song period, and Ming Dynasty. From the Late Tang to the Five Dynasties, sculptures were in medium-size caves, whereas sculptures in caves dating to the Ming Dynasty are in mini size. While lintel in the form of diagonal brace was found in caves dating from the Middle or Late Tang to the Five Dynasties, caves dating to the Ming Dynasty usually show lintel without the diagonal brace. The themes of sculptures include three Buddhas sitting together, four Buddhas sitting together, illustrations about Pure Land Buddhism，Amitabha franking by Avalokitesvara and Kitigarbha, Avalokitesvara flanking by Kitigarbha, double Avalokitesvara, Kitigarbha, Vessava, the thousand-hand Bodhisattva, three eminent monks, towers, etc. In addition, modification occurred in later period is frequently found on these sculptures.

Table of contents

一、龕窟形制 87
1. 龕窟大小 87
2. 龕窟形制 87
3. 龕楣形制 90
二、造像内容和題材 90
1. 造像内容 90
2. 造像題材與特色 92
三、造像時代與分期 92
1. 題記紀年的上限與下限 92
2. 造像時代和分期的初步判斷 93
3. 關於改刻 96

ISSN

10007830 (P)

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