重庆龙多山田湾3号龛的造像题材与年代  

The Theme and Time of the Images of Tianwan No.3 Niche in the Longduoshan Grottoes in Chongqing

作　　者：符永利[1] 

机构地区：[1]西华师范大学历史文化学院,四川南充637009

出　　处：《敦煌研究》2015年第4期5-13,共9页Dunhuang Research

基　　金：国家社科基金青年项目(13CKG014);西华师范大学科研启动基金项目(12B003)

摘　　要：位于重庆合川区的龙多山石窟,在田湾3号龛出现一种比较特殊的造像题材以及组合关系,一直未引起调查者的重视,其神格与年代亦未判明。现于实际调查基础上,经排比分析确定,主尊应为跏趺坐达摩像,右侧为倚坐慧可像,左侧为宝志化现十一面观音像,年代大约在唐末五代时期。宝志化现十一面观音像在石窟考古中属于首次发现,其与达摩、慧可的组合也是新发现的实物例证,这为石窟造像研究提供了不可多得的资料。In Tianwan no.3 Niche in the Longduoshan Grottoes in Chongqing, there is a special theme andcombination of images. This set of statues has not attracted scholarly attention, and its characters and time ofcreation remain unknown. Today＇s investigation and research suggests that the main statue is Dharma, the rightfigure is Hui Ke, and the statue on the left is Eleven-Headed Avalokitesvara transformed by Bao Zhi; thesesculptures likely date to the late Tang and Five Dynasties period. This is the first time in cave archaeology thatEleven-Headed Avalokitesvara transformed by Bao Zhi has been discovered and additionally presents a newcombination of Dharma, Hui Ke and Eleven-Headed Avalokitesvara. These statues are therefore of great valuefor studying cave images.

关 键 词：龙多山石窟 达摩 慧可 宝志 十一面观音 

分 类 号：K879.3[历史地理—考古学及博物馆学]