摘要
云冈石窟的第一期工程昙曜五窟,属北魏前五位帝王的功德窟。北魏统治者能聚集如此财力与智慧来营造这项巨制,是与其在北方兼并战争中所获得的人力、物力、财力分不开的,其中来自原后秦首都长安地区的工匠与佛教神祇人员应当引起我们的注意。十六国后期的后秦长安是北方的政治与佛教中心,其佛教来自西域,主要继承发展着西域大乘佛教因素。在甘肃永靖炳灵寺169窟发现的大乘佛教题材的西秦国塑像与壁画,可看作是后秦长安影响的结果。昙曜五窟的开凿,主要继承着太武帝毁佛前的北魏佛教传统,包括来自后秦长安的佛教传统,可从昙曜五窟造像和大同新发现的北魏石椁板上的佛画与炳灵寺169窟西秦塑像、壁画的相似性了解到。这种相似性体现了北魏对后秦长安佛教的继承,从而影响到了昙曜五窟的造像内容与风格。
The Tanyao Five Caves which are periodized into the first phase of the Yungang Grottoes were commissioned to be constructed for the merits and virtues of the first five emperors of the Northern-Wei Dynasty. With the manpower, material and financial resources gathered from the annexation wars in the North, above all, the craftsmen and Buddhist priests from the capital Changan of the Late-Qin kingdom, the ruler of the Northern-Wei dynasty implemented the giant project. The Late-Qin Chang’an playing as the political and Buddhist center in northern China in the late period of the Sixteen Kingdoms carried forward the Mahayana Buddhism introduced from the Western region. It is studied that the Mahayana Buddhist statues and murals of the Western-Qin Kingdom in Cave 169 of Binglingsi grottoes in Yongjing of Gansu Province resulted from the influence of the Late-Qin Chang’an. The construction of the Tanyao Five Caves followed the Northern-Wei Buddhist tradition before the persecution against Buddhists in Emperor Taiwu’s reign as well as the Buddhist tradition of the Late-Qin Chang’an, which can be learned from the feature shared by the stone sculptures of the caves and the incised Buddhist images on the Northern-Wei sarcophagus in Datong and the WesternQin sculptures and murals in Cave 169 of Binglingsi Grottoes. It is the embodiment of the NorthernWei dynasty inheriting the Buddhism of Late-Qin Chang’an, specifically, by the Buddhist images of the Tanyao five caves in theme and style.
出处
《故宫博物院院刊》
CSSCI
北大核心
2020年第8期4-24,108,共22页
Palace Museum Journal
关键词
北魏平城
云冈石窟
西秦
炳灵寺169窟
后秦长安
the Northern-Wei Pingcheng
the Yungang Grottoes
the Western Qin
Cave 169 of Binglingsi Grottoes
the Late-Qin Chang’an