摘要
麦积山石窟是中国著名的石窟寺之一，与敦煌莫高窟、大同云冈、洛阳龙门石窟并称为中国四大石窟，在中国石窟寺发展史以及佛教艺术史上具有非常重要的地位。现编号窟龛221个，保存北朝至明清时期的雕塑作品7800多身，壁画1000多平方米。其中尤以北朝雕塑著称于世，被誉为“东方雕塑陈列馆”。
据文献及现存碑刻数据以及一些学者的研究，麦积山石窟开创于十六国时期的后秦时期。据《高僧传·玄高传》记载玄高在麦积山禅修，聚集僧人百余人。《高僧传》梁天监十八年(519)由慧皎撰，关于麦积山在五世纪初即有佛教修禅活动的记载应该是可靠的。位于3窟至4窟梯道旁崖壁上的绍兴二年(1132年)题记、南宋《四川制置使司给田公据》碑、南宋祝穆《方舆揽胜》、以及明《麦积山开除常住地粮碑》等碑刻文献均记载麦积山石窟开创于后秦时期。除《高僧传》记载玄高在麦积山的活动距后秦时代较近外，其余记载都是宋代以后的记载，但这些记载应该都不是凭空捏造的，肯定有其根据，所以麦积山在后秦姚兴时期即有佛教活动并开始开凿石窟是可能的。但后秦开凿的洞窟以及雕塑和壁画遗存目前是否还有?这也正是目前学术界争论的焦点，因此而形成了对麦积山石窟现存最早一批洞窟(第74、78、90、51、165窟等)年代认识上两种截然不同的看法，即后秦说和北魏说。因此关于麦积山石窟开创年代以及现存最早洞窟的年代问题成为本论文研究的一个重点。
麦积山石窟北魏早中期洞窟现存有造像和壁画遗存的31个，将这些洞窟称为“麦积山初期洞窟”，是因为这些洞窟所代表的时期及其艺术形式还未完全中国化或向成熟的中国化转变的过程中，尚保留着较多外来艺术形式的成分。
这批洞窟时代从北魏文成帝复法以后至宣武帝景明时期，即五世纪中至六世纪初期。这些洞窟在麦积山石窟的发展演变上具有重要的意义。首先这些洞窟中最早的一批洞窟如74、78窟等的时代问题争论较大，有后秦说和北魏说两种，本论文旨在自己调查研究的基础上提出自己的观点。第二期洞窟当北魏孝文帝太和时期，与云冈石窟的关系密切，且与第一期洞窟在洞窟形制、壁面布局、造像题材等方面有很大的继承关系。第三期洞窟为北魏宣武帝景明至正始时期，受到南朝及龙门造像风格的影响，处于向晚期变化的时期，即继承了早期造像风格，又出现了新的因素。因此，本论文主要就以上洞窟遗存进行调查研究，也是麦积山石窟分期研究的一部分。
以上三个时期的洞窟，前后承袭关系明显，演变脉络清晰，洞窟规模逐渐变小，壁面布局逐渐复杂，由三壁不开龛向三壁两龛、三壁三龛演变，并出现壁面多小龛的形式。造像组合基本由单一的三佛或一佛二胁侍菩萨演变为较复杂的三佛加影塑千佛或二佛并坐的附属造像。造像风格由早期的挺拔雄健向清秀变化，逐渐向中国化的形式过渡，最终到了六世纪初期后，完全由褒衣博带、秀骨清像的风格所取代。
麦积山初期洞窟的造像反映了早期石窟重禅修的特点，三佛、弥勒、释迦多宝并坐、千佛等题材均是禅观的重要图像。佛像多作禅定印相也重视禅观的反映。本论文在造像题材中重点对这些图像进行了探讨。
麦积山初期洞窟明显受到北魏首都地区佛教造象样式“云冈模式”的影响，同时在造型特点及一些细部的装饰方面吸收了犍陀罗艺术的形式。初期洞窟的第二个阶段开始接受来自南朝风格的影响。本论文对麦积山初期洞窟与其它地区的关系也作了较详细的论证。
The Maijishan Cave-temples are one of the most famous cave temples in China.With the Mogao in Dunhuang,the Yungang in Datong,and the Longmen in Luoyang,they are considered to be the four most important cave temples in China.They playedan important role in the development of Chinese cave temples and the history ofBuddhist art.Today there are 221 numbered caves at Maijishan,preserving 7800 statuesand 1000 square meters of murals,dating from the Northern Dynasties to the Qing.Maijishan is especially famous for its statues from the Northern Dynasties,and hasbeen praised as“a gallery of oriental sculptures”.
According to literary evidence and modern scholarship,the MaijishanCave-temples were first cut in the Later Qin of the Sixteen Dynasties.In the GaosengZhuan (Biographies of Eminent Monks) by Huijiao in the eighteenth year of theTianjian reign of the Liang Dynasty (519 AD),a record in the Xuangao Zhuan (TheBiography of Xuangao) mentions the practice of Buddhist meditation at Maijishan inthe fifth century.The inscriptions on the cliff beside the stair between Caves 3 and 4dated to the second year of Shaoxing reign of the Southern Song (1132),the stele ofSichuan zhizhi shisi jitian gongju of the Southern Song,the Fangyu lansheng by Zhumuin the Southern Song,and the stele of Maijishan kaichu changzhu diliang of the Mingdynasty all state that the Maijishan Cave-temples were first constructed in the Later Qin.Except for the literary record in the Gaoseng zhuan regarding the Later Qin monkXuangao,all other records are dated from the Song or later,but these records areunlikely to have been mere fabrications,and were certainly based on evidence that maysubsequently have been lost.It is thus possible that there had been Buddhist activitiesand cave-temple construction in Maijishan during Yaoxing's time in the Later Qin.However,whether the caves of the Later Qin still exist or not is still a focus of scholarlydebate.One of the two theories on dating the earliest caves (Cave 74,78,90,51,and165) suggests that they date to the Later Qin or Northern Wei.Dating the earliest cavesextant is one of the main points of this dissertation.
At Maijishan,there are approximately thirty caves in which the statues and muralscan be dated to the early and mid periods of the Northern Wei Dynasty.I follow theJapanese scholars Higashiyama Kengo and Kuno Miki and categorize these caves as“Maijishan caves of the early stage”.In these caves the artistic expression employed toconstruct these caves were incompletely Sinicized or were from an immature stage ofthe process of Sinicization,and thus preserve a great number of foreign artistic forms.
These caves can be generally grouped into three sets,dating from the revival ofBuddhism in Emperor Wencheng's time to the Jingming reign of the Emperor Xuanwuof the Northern Wei,i.e.the mid-fifth to the beginning of the sixth century.These cavesplayed a significant role in the development of the Maijishan Cave-temples.There is amajor difficulty in dating the first set of caves (including Caves 74 and 78),and thereare two theories:the Later Qin and the Northern Wei.The main task of this dissertationis to propose a dating based on my own investigations.The second set of caves was constructed during the Taihe reign of Emperor Xiaowen of the Northern Wei,andshows a close relationship with the Yungang Cave-temples.They also inherited theformal design,mural arrangement,and iconographic subjects from the first set of thecaves at Maijishan.The third set of the caves was constructed during the period fromthe transfer of the Northern Wei capital to Luoyang until the Jingming reign.Thesecaves were influenced by artistic styles from the Southern dynasties and from theLongmen Cave-temples.They are at the latest stage of the development,not onlyinheriting the early style but also showing new factors.My investigation into thesecaves is part of the research on dating the caves at Maijishan and also forms animportant part of this thesis.
These three sets of caves represent three stages of Maijishan's development,whichshow a dear process of inheritance and transformation.The scale of the caves graduallybecame smaller,the mural arrangement became more complex,from no niche in thewalls to two or three niches in three walls,or several niches in a wall.The iconographiccombination of the statues also became increasingly sophisticated,evolving from threemain Buddha images or a Buddha with two attendants to three Buddhas accompaniedby Thousand Buddhas or to double seated Buddhas.The rendering of the Buddhas'bodies evolved from a well-built to a more elegant and slender style,showing a gradualtransition towards a more Sinicized style,Finally,by the sixth century,the older styleswere replaced by the newer.
In the caves of the early stage at Maijishan,the iconography (such as TripleBuddhas,Maitreya,Sakyamuni and Prabhutaratna seated together,and ThousandBuddhas) reflects their importance as subject-matters for meditation practice.Moreover,the meditation mudra in the Buddha statues is also a feature of the meditation practice.This thesis puts special emphasis on studying these iconographies.
The early caves at Maijishan were dearly influenced by the so-called“Yungangmodel”from the Northern Wei capital.Meanwhile,they also incorporated certainelements of the Gandharan art in style and decorative detail.The second stage of theearly caves began to receive influence from the Southern Dynasties.This dissertationalso includes a detailed analysis of the relationship between the early caves atMaijishan and those in other areas.
引文