大同云冈第5、6窟图像构成分析  

A Combinatorial Analysis of the Images in Caves 5 and 6 at the Yungang Grottoes

作　　者：王友奎[1,2] WANG Youkui(School of Art & Design,University of Tsukuba,Tokyo,Japan)

机构地区：[1]敦煌研究院编辑部 [2]筑波大学艺术学系

出　　处：《敦煌研究》2019年第3期17-31,共15页Dunhuang Research

基　　金：国家留学基金资助

摘　　要：云冈石窟第5窟造像大体存在统一规划。主体三世佛造像外,侧壁佛龛多为释迦佛、释迦多宝佛、弥勒菩萨等尊像的排列组合,这一组合源于第7、8窟主室北壁,在第二期洞窟中成为填充壁面空间的流行元素。第6窟中两种思想主题并存,其北壁下层龛内三佛像表述三世佛思想,而中心柱下层四面佛龛则以大乘成佛思想统摄周壁图像。与此相适应,上层15尊立佛像可能表述供养、值遇诸佛意涵。Cave 5 at the Yungang Grottoes was created according to a generally integrated design. Apart from the central group of statues of Buddhas of the Past, Present, and Future, the Buddhist statues against the other walls are separated into groups respectively depicting Sakyamuni, Sakyamuni and Prabhutaratna, or Maitreya.These combinations of statues were originally a motif used in caves 7 and 8(placed against the north wall in the main chamber of both cave), and which became a popular theme used to cover the wall surfaces of Buddhist caves. In cave 6, the images of two sets of Buddhist ideas co-exist: the three Buddhist statues in the lower niche on the north wall represent the Buddhas of the Three Times, while those in the lower niches on the four sides of the central pillar embody the Buddhist thought of obtaining Buddhahood through devout belief in Mahayana dharma. This second theme integrates the ideas of 15 Buddhist caricatures surrounding the interior of the cave that represent reverential offering to, and subsequent communion with the Buddhas.

关 键 词：云冈第5、6窟 造像思想 大乘成佛 《法华经》 弥勒信仰 

分 类 号：K879.22[历史地理—考古学及博物馆学]