飞来峰第68龛弥勒造像的年代问题再探  

A Re-exploration on the Date of Maitreya at Niche No.68 of Feilai Peak

作　　者：陈越 CHEN Yue(Advanced School of Art and Humanities,China Academy of Art,Hangzhou 310002,China)

机构地区：[1]中国美术学院艺术人文学院,浙江杭州310002

出　　处：《美育学刊》2021年第6期83-90,共8页Journal of Aesthetic Education

摘　　要：飞来峰第68龛像因其精妙的艺术表现一直被作为整个飞来峰造像的代表。但其雕凿年代至今意见不一。对宋代飞来峰游览路线的考察和宋人文人游记的分析,以及元初造像题记中所折射出的造像次序、选址意图,都反映出此龛造像在当时未得到任何关注。在飞来峰元代造像之初,第68龛像可能并不存在。另一方面,通过造像的题记,能够发现宋元时期供养人不同的施造目的和造像理念。第68龛的造像风格和选址均更符合元人的“展示”心理。可以推测,此龛像应为一龛元代造像,而非目前学界大多数所认为的宋代造像。Niche No.68 of Feilai Peak has been regarded as the representative of the whole stone sculptures of Feilai Peak due to its exquisite artistic performance.However,its sculpting age remains controversial.Reviewing the touring route of Feilai Peak and the travel notes by the literati in Song Dynasty,as well as the possible sculpting sequence and the intention of site location reflected by the findings in the inscription of the statue in the early Yuan Dynasty,it can be discovered that Niche No.68 didn't receive any attention at that time,and that it might not exist at the beginning of Yuan Dynasty.Moreover,through the inscription of the statues,it can be found that the patrons in Song and Yuan dynasties had different construction purposes and ideas.The style and location of Niche No.68 are more in line with the“display”psychology of people in Yuan Dynasty.It can be speculated that Niche No.68 should be a statue in Yuan Dynasty,but not the one of Song Dynasty as most scholars thought at present.

关 键 词：飞来峰第68龛 弥勒 年代 游记 造像顺序 造像思路 

分 类 号：K879.34[历史地理—考古学及博物馆学]