摘要
石窟寺是一种重要的佛教遗存,是我们研究佛教艺术、佛教史及其与之相关的政治、经济、文化等一系列问题的重要实物资料。国际学术界已共同认识到,研究中国历史,就不能不研究佛教,研究佛教就离不开中国的石窟寺。四川是中国南方石窟最重要的分布区,是我国晚期石窟史上最重要的一环。学术界对中国佛教石窟寺的研究不可谓不多,成就不可谓不丰富,然而,在这些研究成果中,鲜有关于四川石窟系统研究的成果,四川石窟的许多基本情况尚不清楚。因此对于四川石窟当务之急应当系统梳理基本材料,建立起准确的时空框架,只有在正确的时空框架中,即把它们放在正确的时间和空间中去认识,我们的研究才有基础和有意义。
巴中和广元地处四川北部,是四川石窟最重要的分布区,它联系着四川与中原北方地区。对川北石窟的系统研究,是四川石窟研究的关键,广元石窟已由北京大学姚崇新博士作过分期研究,他的研究无疑是四川石窟研究的一个良好开端。然而巴中石窟的系统研究却是一片空白,因此,我在对巴中摩崖造像进行全面系统调查的基础上,对其基本材料进行系统梳理,利用考古学基本的研究方法,对巴中石窟的龛型制和造像组合的变化进行分析,结合纪年龛像,对巴中石窟现有龛像进行分期研究,对各期的时代作出推断,建立了巴中摩崖造像的时间序列,将现存隋唐龛像分为五期:第一期开凿于隋,下限到唐初,保存下来的龛像不多。第二期分为前后两个阶段,前一阶段开凿于初唐,相当于七世纪中叶,即贞观时期,龛像虽不多,但有一批较大的龛雕刻精美;第二阶段以七世纪末到八纪初的造像为主,即武周时期至开元初年,龛像明显增多,
Grotto or the cave temple is an important Buddhist relic. It provides us with valuable information on the research of Buddhism, Buddhist history and its related political, economical and cultural issues. The international academic circle has realized researches have to be done on Buddhism in order to study Chinese history; In order to study Buddhism, the Chinese grottos have to be studied. Sichuan Province is the most important area where the southern Grottos are widely distributed. It is the most essential part in the history of later period of Grottos. The academic circle has done great research and achieved tremendously on the study of Buddhist Grottos, however, little studies have been done on Sichuan Grottos or nothing has been known about it. Therefore, what is crucial is to sort out the information, establish accurate frame of time and space to systematically carry on our research so that our study will have good foundation, thus be significant.Bazhong and Guangyuan are located in northern Sichuan Province. It is an important Grottos range area, which connects Sichuan with the Central Plains. The study on Northern Sichuan Grottos is the key to the research on Sichuan Grottos. Dr. Yao Congxin from Beijing University has done some researches on Guangyuan Grottos by stages. His researches are definitely the excellent outset for the study of Sichuan Grottos. However, Nothing has been touched upon on Bazhong Grottos by them. I have done systematic investigation on Bazhong Precipice Statues, have sorted out the related materials systematically, have analyzed the changes between Niche Mould and Statues in Bazhong Grottos by the basic archeological research means. I have also done some research on the preserved niche statues by stages, have concluded the corresponding historical period that each one of them belongs to, and established the chronological order for Bazhong Precipice Statues. The Niche Statues of Sui and Tang Dynasty are divided into five periods:
1st Period—from Sui to the beginning of Tang, in which a few niche statues have been preserved.2nd Period—it can be divided into two stages: the first stage is from the beginning of Tang, so-called Zhenguan Period (around mid of 7th century). Although not many of the niche statues were preserved, they were all carved perfectly; the 2nd stage is from Wuzhou Period to the beginning of Kaiyuan Period (from the late of 7th century to the beginning of 8th century). There were increased number of niche statues, and the carvings were versatile. 3rd Period—from Kaiyuantianbao Period (prior to the mid of 8th century). It is the fastigium of Bazhong Statues. There were large numbers of statues, but the carving styles remained the same.4th Period—represented is The statues from Qianyuan Period (from the second half of 8th century to the first half of 9th century). There appeared a large number of the statues, and the forms and the contents were versatile. It had the tendency of simplicity.5th Period— represented is the Ji-nian Niche Statue between Huichang and Zhonghe Period (the second half of 9th century). The style was simple. All kinds of single statues were built. Small sized statues were in fashion. Many niche statues had height of only four to five centimeters or even less.On the basic of the researches by stages, the dissertation analyzes the origin, the historical background of Bazhong Grottos, etc, by the means of documentation, the Grottos materials are placed under the background of Chinese history and Buddhist history. Meanwhile, the geographical location of Bazhong is being considered to deeply study the Grottos from the frame of time and space. It is concluded: Bazhong began to build Precipice Statues under the influence of Buddhism in Sui Dynasty, while the whole nation were worshipping Buddhism. It reached the fastigium in Tang Dynasty, in which Wuzetian promoted Buddhism worship. At the beginning of Zhouwu Period, due to the war between Tang and Tufan, The entering passage to Sichuan was gradually changed from jingniu, Guangyuan to Micang, Bazhong, then completely through Micang after Tianbao Period. During this special period, the geographical position of Guangyuan was declining while the importance of Bazhong was increasing. As a result, the building of statues was prospering in Bazhong. Because it was located on Micang that connected The Central Plains and Shu, the statue style came from the two capitals, then widespread to the center of Shu and later came to this area. Besides their Bazhogn local style, Bazhong statues have not only the characteristics of the Northern circular arch but also those of Sichuan style that is characterized by circular arch with two-layer niche. The unique style has a lot to do with the climate of
Sichuan where it's frequently rainy. The statues of Bodhi, Bodhisattva, Guanyin, Dizang, God Pishamen, Guanyin Ruyilun, etc., all had the influence of that of Northern Central Plains. Some of the statues, such as the Two headed Statue, were probably directly from Hexi. After Tang Dynasty, the North States and the Southern States broke up, Micang lost its importance, Bazhong became a hinterland of Shu, and the building of Buddhist statues thus terminated.There are similarities between Bazhong Grottos and Guangyuan Grottos. However, there are differences as well. Both belong to the Northern Statues system, but the difference is that they were located on the different entering passages. The Northern statues were changing with the time passed. In the late Tang Dynasty, the Central Plains statue style came to Chengdu and its surrounding areas through Micang, Bazhong, Langzhong, Santai, and Mianyang, etc.Therefore, Bazhong Grottos had significant influence on those of West Sichuan and other places. However, Chengdu and Santai area were the center of West Sichuan Buddhism. West Sichuan was the destination for many dignitaries, and Bazhong was not. Many forms and styles of statues first entered West Sichuan, and then from there came to BazhongLastly, systematic researches have been done on some subjects in Bazhong area such as Statue of Boddhi, Amitabha and Fifty Bodhisattva, God Pishamen, Taoist statues. Their origins and characteristics have been discovered. The research shows that the Buddhist statue in Sichuan with the coronet and the necklace of jade and pearls is the statue of Bodhi, that is the statue of Sakyamuni after his subdue demons and became Buddha. It is not what some of the scholars proclaimed Darirulai or Fodingfu sitting with Statue of Mile in the same niche. Amitabha and Fifty Buddha were the most popular themes in Bazhong. They originated from Chongan, Beijing, entered Chengdu through Micang. Great modifications were made in Chengdu and its surrounding areas. Its popularity resulted from the widespread of Sukhavatti Belief. Some prospective has been proposed on so- called Esoteric Buddhism. They are not real Esoteric Buddhism. For instance, the popularity of God Pishamen in Sichuan resulted from the war between Tufan and Nanzhao, especially had a lot to do with the invasion into Chengdu by Nanzhao, but not from Esoteric Buddhism. As for the popularity of many statues related to Dizang in Sichuan, it was due to the need of the folk people, not because of the relation with Esoteric Buddhism. During Tianbao Period, the appearance of large number of Taoist statues in Sichuan had much to do
with the Taoist activities promoted by Emperor Tang Xuanzong. Therefore, in Bazhong, Buddhist and Taoist statue sharing niches were built.The comprehensive research has shown: Bazhong Grottos belong to the Northern Central Plains Statue system. Their forms and contents are mainly from Changan Area, but they have their own local characteristics. Their prosperity and decline are closely related to the function of Micang. The styles and the themes of the different periods have great deal to do with the political backgrounds of the specific times. Basically they don't have the characteristics of Esoteric Buddhism or so-called Esoteric Buddhism statues.
引文
1、宋·司马光<资治通鉴>「M」,上海古籍出版社1987年出版;
2、后晋·刘昫<旧唐书>,1975年中华书局出版;
3、大藏经刊行会编辑<大藏经·史传部>「M」,第49—52册,台湾新文丰出版公司影印,民国85年;
4、大藏经刊行会编辑<大藏经·事汇部>「M」,第53册;新文丰出版公司影印,民国85年;
5、大藏经刊行会编辑<大藏经·密教部>「M」,第18—21册;新文丰出版公司影印,民国85年;
6、清·陆增祥<八琼室金石补证>「M」,文物出版社1985年印;
7、清·燕庭<金石苑>「M」,<石刻史料新编>第一辑第9册,台湾新文丰公司,1976年;
8、清·王昶<金石萃编>「M」,中国书店1985年出版;
9、杨殿殉编<石刻题跋索引>「M」,商务印书馆1990年重印,
10、<四川通志>「M」,巴蜀书社1984年影印本;
11、唐·张彦远著,俞剑华注释<历代名画记>「M」,上海人民美术出版社1963年出版.
12、<巴中县志>「M」,民国二十五年;
13、龙显昭主编<巴蜀佛教碑文集>「M」,巴蜀书社2004年出版.
14、明·曹学佺<蜀中名胜记>「M」,商务印书馆发行;
15、明·杨慎<全蜀艺文志>「M」,线装书局2003年;
16、宋·王象之<舆地纪胜>「M」,中华书局1992影印;
17、陈垣编<道家金石略>「M」,文物出版社1988年出版;
18、大藏经刊行会编辑<大藏经·大集部>「M」,第13册,新文丰出版公司影印,民国85年.
1、汤用彤<汉魏两晋南北朝佛教史>「M」\<隋唐佛教史稿>「M」,<汤用彤全集>第一、二卷,河北人民出版社2000年出版;
2、任继愈主编<中国佛教史>「M」,中国社会科学出版社1988年出版;<中国道教史>增定本,中国社会科学出版社2001年出版;
3、卿希泰主编<中国道教史>「M」,四川人民出版社1996年出版;
4、宿白<中国石窟寺研究>「M」,文物出版社1996年出版,
5、胡文和<四川佛教道教石窟艺术>「M」,四川人民出版社1994年出版;
6、王剑平、雷玉华<广元石窟>「M」,巴蜀书社2002年出版;
7、雷玉华、程崇勋<巴中石窟>「M」,巴蜀书社2002年出版;
8、吕建福<中国密教史>「M」,中国社会科学出版社1995年出版;
9、松本文三郎著,张元林译<弥勒净土论>「M」,宗教文化出版社2001年出版;
10、张国刚<佛学与唐代社会>「M」,河北人民出版社2002年出版;
11、阎文儒<云冈石窟>「M」,广西师范大学出版社2003年出版;
12、阎文儒<中国石窟艺术总论>「M」,广西师范大学出版社2003年出版;
13、李淞<长安艺术与宗教文明>「M」,中华书局2002年出版;
14、北京大学考古系、新疆克支尔千佛洞文物保管所编<新疆克支尔石窟考古报告一>「M」,文物出版社1997年出版;
15、水野清一、长广敏雄<云冈石窟>「M」,东京大学人文科学研究所,1955年;
17、李裕群、李刚<天龙山石窟>「M」,科学出版社2003年出版;
18、李映辉<唐代佛教地理研究>「M」,湖南大学出版社2004年出版;
19、陈寅恪<唐代政治史述论稿>「M」,上海古籍出版社1997年出版;
20、李四龙<天台智者研究-兼论宗派佛教的兴起>「M」,北京大学出版社会2003年出版;
21、西北大学考古专业等编著<慈善寺与麟溪桥>「M」,科学出版社2002年出版;
22、马世长《中国佛教石窟考古论文集>「M」觉风佛教艺术文化基金会,2001年出版;
23、杨泓<汉唐美术考古和佛教艺术>「M」,科学出版社2000年出版;
24、金申<佛教美术丛考>「M」,科学出版社2004年出版;
25、龙门石窟研究所编<龙门石窟研究论文选>「M」,上海人民出版社1993年出版;
26、李文才<南北朝时期益梁政区研究>「M」,商务印书馆2002年出版;
27、晁华山<佛陀之光>「M」,文物出版社2001年出版;
28、国家文物局教育处编<佛教石窟考古概要>「M」,文物出版社1993年出版.
29、章义和<地域集团与南朝政治>「M」,华东师范大学出版社2002年出版;
30、沈崇文<中国历代服饰研究>增订本「M」,上海书店1997年出版;
31、温玉成<中国石窟与文化艺术>「M」,上海人民美术出版社1993年出版.
1、<中国美术全集·雕塑编(4)·隋唐雕塑>「M」,<中国美术全集·雕塑编(11)·龙门石窟雕刻>「M」,<中国美术全集·雕塑编(12)·四川石窟雕塑>「M」,人民美术出版社1993年出版;
2、<中国石窟>「M」,中国文物出版社、日本株式会社平凡社,1991年出版;
3、重庆大足石刻艺术馆 重庆出版社编<大足石刻雕塑全集>「M」,重庆出版社1999年出版;
4、四川人民出版社编<安岳石窟艺术>「M」,四川人民出版1997年出版;
5、任乃强 任建新<四川州县建制沿革图说>「M」,巴蜀书社、成都地图出版社2002年出版;
6、张鸿修<中国唐墓壁画集>「M」,嶺南美术出版社1995年出版;
7、刘长久<中国西南石窟艺术>「M」,四川人民出版1998年出版;
8、谭其骧主编<中国历史地图集>「M」,中国地图出版社1982年出版;
1、新疆龟兹石窟研究所编《克支尔石窟内容总录》「M」,新疆美术摄影出版社2000年出版;
2、陈垣<二十史朔闰表>「M」,中华书局1962年出版;
3、宁夏回族自治区文物管理委员会、中央美院美术史系编<须弥山石窟>「M」,文物出版社1988年出版;
4、新疆龟兹石窟研究所编<龟兹佛教文化论集>「M」,新疆美术摄影出版社1993年出版;
5、兰州大学敦煌学研究所、麦积山石窟艺术研究所编<麦积山石窟艺术文化论文集>「M」,兰州大学出版2004年出版;
6、姚崇新<广元石窟造像的分期与研究>「M」,北大2002年博士论文;
7、巫鸿主编<汉唐之间的宗教艺术与考古>「M」,文物出版社2000年出版;
8、丁明夷<四川石窟杂识>「J」,<文物>1988年第8期,P46-58;
9、少林文化研究所编<少林文化研究论文集>「M」,宗教文化出版社2001年出版;
10、刘长久、胡文和<四川石刻造像艺术概术>「J」,<社会科学研究>1985年第1期P68-73;
11、胡文和<四川摩崖石刻造像调查及分期>「J」,<考古学集刊>1991年第14册;
12、员安志、候正荣<四川广元皇泽寺石窟调查纪要>「J」,<考古与文物>1985年第1期,P50-54;
13、黎方银、王熙祥<大足北山佛湾石窟的分期>「J」,<文物>1988年第8期,P31-45;
14、彭家胜<四川安岳卧佛院调查>「J」,<文物>1988年第8期,P1-13,30;
15、四川省文管会、巴中文管所<四川巴中水宁寺唐代摩崖造像>「J」,<文物>1988年第8期,P14-18;
16、王熙祥、曾德仁<四川资中重龙山摩崖造像>「J」,<文物>1988年第8期,P19-30;
17、付成金、唐承义<四川安岳石刻普查简报>「J」,<敦煌研究>1993年第1期,P37-52;
18、阎文儒<四川广元千佛崖与皇泽寺>「J」,<江汉考古>1990年第3期,P85-91;
19、陈明光、黎方银<大足尖子山发现初唐石刻造像>「J」,<四川文物>1988年第4期,P28-30;
20、盛涛、吴春丽<广元新发现的佛教造像>「J」,<文物>1990年第6期,P30-33;
21、苟廷—<巴中水宁唐代摩崖造像>「J」,<四川文物>1989年第6期,P61-62;
22、苟廷—<巴中西龛发现隋初摩崖造像>「J」,<四川文物>1991年第3期,P54-55;
23、员安志<巴中水宁寺摩崖造像>「J」,<文博>1984年第4期,P6-9;
24、员安志<四川巴中县石窟调查记>「J」,<考古与文物>1986年第1期,P45,50-57;
25、陈明达<四川巴中通江两县石窟介绍>「J」,<文物参考资料>1956年第5期,P102;
26、宁强<巴中南龛第93号毗沙门天王造像龛新探>「J」,<敦煌研究>1989年第2期,P11-15;
27、宁强<巴中摩崖造像中的佛教史迹故事初探>「J」,<四川文物>1987年第3期,P40-42;
28、顾森<巴中南龛摩崖造像形成年代初探>「J」,<美术史论丛刊>1983年第2期,P111-113;
29、冈田健<东寺毗沙门天像>「J」,<美术研究>第三百七十号,平成十年三月(1998年3月),P259-238;第三百七十一号,平成十一年三月(1999年3月),P71-79;
30、冈田健<初唐转法轮印阿弥陀图像之研究>「J」,<美术研究>第三百七十三号,平成十二年三月(2000年3月),P1-37;
31、丁明夷<四川石窟概论>「M」,<宿白先生八秩华诞纪念文集>,文物出版社2002年出版,P455-472;
32、程崇勋<巴中石窟调查记略>「J」,<少林文化研究论文集>,宗教文化出版社2001年出版,P191-198;
33、罗世平<广元千佛崖菩提瑞像考>「J」,<故宫学术季刊>1992年第9卷第2期,P117-138;<巴中石窟三题>「J」,<文物>1996年第3期,P58-65;
34、温玉成<龙门唐窟排年>「M」,龙门石窟研究所、北京大学考古系编<中国石窟·龙门石窟(二)>,文物出版社1991年出版,P217-232;
35、顾颜芳<龙门石窟主要唐窟总叙>「M」,同上,P254-274;
36、颜娟英<武则天与第安七宝台石雕佛像>「J」,<艺术学>1987年第3期,P40-89;
37、常青<试论龙门初唐密教雕刻>「J」,<考古学报>2001年第3期,P335-360;
38、刑军<广元千佛崖初唐密教造像析>「J」,<文物>1990年第6期,P37-40;
39、罗世平<千佛崖利州毕公及造像年代考>「J」,<文物>1990年第6期,P34-36;
40、韩伟<法门寺唐代金刚界大曼荼罗成身会造像宝涵考释>「J」,<文物>1992年第8期,P41-54;
41、罗世平<四川唐代佛教造像与第安样式>「J」,<文物>2000年第4期,P46-57.
42、常青<龙门石窟地地藏菩萨及相关问题>[J],<中原文物>1993年第4期,P27-34.
1、《成都彭州龙兴寺石刻造像简报》,《文物》2003年9期,合著;
2、《旺苍木门寺摩崖造像调查简报》,《2001成都市考古发现》,科学出版社2003年出版;
3、《剑阁横梁子摩崖石刻调查简报》,《2001成都市考古发现》科学出版社2003年出版;
4、《苍溪阳岳寺摩崖石刻调查简报》,《2001成都考古发现》科学出版社2003年出版;
5、《旺苍古田坝摩崖石刻调查简报》,《2001成都市考古发现》科学出版社2003年出版;
6、《剑阁鹤鸣山摩崖石刻造像调查简报》,《四川文物》2004年第1期;
7、《旺苍佛子崖摩崖石刻造像简报》,《四川文物》2004年第1期;
8、《蒲江龙拖湾摩崖石刻造像简报》,《2002年成都考古发现》科学出版社2004年出版;
9、《蒲江佛尔岩摩崖石刻造像简报》,《2002年成都考古发现》科学出版社2004年出版;
10、《安岳灵逰院摩崖造像简报》,《2002年成都考古发现》科学出版社2004年出版。
1、《广元石窟》,巴蜀书社2002年12月出版,合著;
2、《巴中石窟》,巴蜀书社2003年8月出版,合著。
1、《巴中石窟调查》,《宗教研究》2001年4期,独著;