云冈石窟第11-13窟图像构成分析  

An Analysis of the Image Combination in Caves 11—13 at the Yungang Grottoes

作　　者：王友奎[1,2] 

机构地区：[1]敦煌研究院编辑部,甘肃兰州730030 [2]清华大学美术学院,北京100084

出　　处：《敦煌研究》2017年第4期27-38,共12页Dunhuang Research

摘　　要：云冈石窟第11—13窟是开凿于云冈第二期(约470—495)的一组洞窟,其内部造像可区分为一体设计与非一体设计两种。第12窟整体出于一体设计,其主室中轴线及前室东西壁设置"释迦多宝佛+释迦佛+弥勒(菩萨、佛)"之图像组合,与第二期前段第7—10窟图像思想一脉相承。第13窟大致存在整体规划,并以北壁主尊交脚弥勒菩萨为中心,表述弥勒上生信仰。该窟两侧壁中层龛像及第11窟造像并非开窟时一体设计。通过分析其中部分佛龛的组合情况可知,当时通过信仰大乘佛法而往生兜率天并最终成佛的思想,在一般信众中亦普遍流行。Caves 11—13 at the Yungang Grottoes were constructed as a group during a secondary phase of construction. The sculptures in these caves can be divided into the two types of integrated and non-integrated design. In cave 12, which is of integrated design, the image combination of a Jeweled Buddha, Prabhutaratna Buddha, Sakyamuni Buddha, and Maitrya（Buddha or bodhisattva） was installed on the central axis of the main chamber and on the eastern and western walls of the front chamber. The main idea of these themes is similar to those depicted in caves 7—10, which were constructed at the beginning of the same second phase. More broadly speaking, the integrated design of cave 13 focuses on the crossed-legged image of Maitreya bodhisattva on the north wall conveying the Buddhist idea that one may be reborn into Tusita Heaven. The images carved on the middle level of both side walls of cave 13 and cave 11 are of non-integrated design. An analysis of this group of shrines suggests that the idea of being reborn into the Tusita Pure Land and obtaining Buddhahood through devout belief in Mahayana Buddhism was very popular among common Buddhist followers.

关 键 词：云冈第11—13窟 图像构成 法华经 弥勒信仰 

分 类 号：K879.22[历史地理—考古学及博物馆学]