石窟艺术笔记——隋唐时期的敦煌莫高窟与龙门石窟  

Notes on Cave Arts——Mogao Grottoes at Dunhuang and the Longmen Grottoes during the Sui and Tang Dynasties

作　　者：久野美树 贺小萍[2] 

机构地区：[1]女子美术大学 [2]敦煌研究院信息资料中心,甘肃兰州730030

出　　处：《敦煌研究》2012年第5期1-8,140,共8页Dunhuang Research

摘　　要：本文探讨敦煌莫高窟与龙门石窟造像的思想背景,列举了基于"一即多,多即一"法则的"诸佛"概念、"本迹思想"作用的事实。尽管初唐莫高窟出现了大幅式的阿弥陀净土变,但正壁多为释迦系造像,信仰中心仍然以法身与释迦为主。初盛唐时期莫高窟与龙门石窟的造像主题、形式迥然不同,是由于两处石窟的功能、作用异同所致。This paper exemplifies the concept of ＂various Buddhas＂ and the function of ＂Buddha＇s various manifestations＂ based on the principle ＂One in all, all in one＂ by studying the themes in image creation at Dunhuang Mogao Grottoes and the Longmen Grottoes. Though large-sized sutra illustrations appeared in the Early Tang Dynasty at the Mogao Grottoes, most front walls contain images related to Sakyamuni, showing that the faith was focused on Dharma-kaya and Sakyamuni. Nevertheless, the Mogao Grottoes completely differ from the Longmen Grottoes in image themes and forms owing to the differing functions and roles of the two Grottoes.

关 键 词：敦煌莫高窟 龙门石窟 隋唐时期 造像思想 

分 类 号：K879.2[历史地理—考古学及博物馆学] K241[历史地理—历史学] K242