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本文对麦积山石窟北魏前期至隋代后期的造窟过程进行了一个概观。造窟活动最为繁盛的北魏时期,第74,78号窟引人注目,长时期内保持了较强的影响力,直至北魏末期。而后第74,78号窟逐渐失去直接的影响力,石窟开凿依然延续其传统,这一点值得一提。至西魏尤其乙弗氏墓窟的营造改变了麦积山石窟的风格。以540年为界,麦积山石窟由一座延续传统的地方佛教石窟寺院转变为代表国家水平的皇室石窟,反映了当时首都西安的最新流行形式。西安西魏佛教美术遗物甚少,以第44号窟为代表的西魏后期窟为研究西安西魏佛教美术样式及形式提供了实例。北周以后麦积山石窟的主导不再是延续第44号窟派属的工匠。西魏后期至北周前期这一段时期,造像样式与形式发生了很大的变化,不能否认两派工匠之间存在联系,但两派工匠绝不属于一个系统。值得一提的是,第22号窟等袈裟的披着方式在第44窟以前,就已经与第127,135号窟有相似之处。无论如何至北周以后与西安密切关联的麦积山石窟的重要性并没有消失。同时第141号窟等七佛形式,迄今为止尚未在其他地区发现相同的造像配置形式,说明麦积山石窟并没有一味模仿西安的流行形式。南北朝时期的终结没有给中国佛教美术带来一个统一的样式与形式。各个地区风格不一,具有强烈区域特征的佛教美术的样式与形式根深蒂固。直至仁寿年间隋文帝在全国各地建造舍利塔以后,佛教美术的样式与形式才逐渐向一个统一的方向过渡。麦积山石窟于仁寿年间在山顶建塔,也融入全国的这一潮流之中。但麦积山此时崖面已经处于饱和状态,没有营造新窟的余地。加之唐代两次地震的打击,麦积山石窟又重新回到原来地方石窟寺院的地位,逐渐埋没于人们的记忆之中。
This paper gives an overview of the process of the cave in the Maiji Mountain Grottoes from the early Northern Wei Dynasty to the late Sui Dynasty. During the Northern Wei Dynasty, where the grottos were most prosperous, Cave Nos. 74 and 78 attracted attention and maintained a strong influence over the long run until the late Northern Wei Dynasty. After that, Cave Nos. 74 and 78 gradually lost their direct influence. It is worth mentioning that the excavations of the grottoes continued their tradition. To the Western Wei Dynasty, especially the Bf’s burial mound changed the style of Maijishan Grottoes. For 540 years, the Maijishan Grottoes has been transformed from a traditional Buddhist cave temple to a royal grotto representing the national level, reflecting the prevailing popularity of the then capital city of Xi’an. There are few relics of Buddhist art in Xi’an Western Wei Dynasty. The late Western Wei Dynasty cave represented by Cave No. 44 provided an example for studying the style and form of Buddhist art in Western Wei Dynasty in Xi’an. After the Northern Zhou Dynasty Maijishan Grotto’s dominant is no longer the continuation of the No. 44 caves sent artisans. During the period from the late Western Wei Dynasty to the early Northern Zhou Dynasty, there was a great change in the statues and forms, and there was no connection between the craftsmen of the two schools. However, the two craftsmen were by no means part of a system. It is worth mentioning that similar to the No.127 and No.155 Cave before the 44th Cave, No. 22 Cave and so on. In any case, the significance of the Maijishan Grottoes closely linked to Xi’an after the Northern Zhou Dynasty did not disappear. At the same time, Cave No. 141 and other seven forms of Buddhism have so far not been found in other parts of the same configuration of statues, indicating that the Maijishan Grottoes did not blindly imitate the popular form of Xi’an. The end of the Northern and Southern Dynasties did not bring a unified style and form to Chinese Buddhist art. The styles and forms of Buddhist art with strong regional characteristics are deeply rooted in different regions and regions. Until Renshou years Sui Wendi built stupa throughout the country, the style and form of Buddhist art gradually to a unified direction of the transition. The Maiji Mountain Grottoes built a tower on the top of the mountain during Renshou’s years and was also integrated into this trend of the whole country. However, Maijishan Cliff surface at this time is already in saturation, there is no room to create a new cave. Coupled with the two Tang earthquake hit, Maijishan Grottoes once again back to the original place of the local cave temples, and gradually buried in people’s memory.