大足石刻化生童子图像研究:以大足石刻大佛湾宝顶第18号龛为例  

On the Image Study of the Children’ s Metamorphosis in the Dazu Rock Carvings--Taking the No.18 Niche of Dafowan Baoding in the Dazu Rock Carvings as a Case in Point

作　　者：向静[1] 龙红[2] Xiang Jing;Long Hong

机构地区：[1]重庆大学艺术学院,重庆401331 [2]重庆大学建筑城市规划学院,重庆400030

出　　处：《艺术探索》2022年第2期51-58,共8页Arts Exploration

基　　金：2013年度重庆市社会科学规划一般项目“大足石刻装饰图案设计特征及民俗文化内涵研究”(2013YBYS102);重庆市社科规划基金重点项目“巴蜀石窟艺术编年与研究”(2021NDZD17)。

摘　　要：莲花化生是《观无量寿佛经》中描述阿弥陀佛信仰者往生西方极乐世界的化生像。大足石刻三品九生的九组图像,以莲花、莲叶中或站、或坐、或跪等不同姿势的化生童子像造型来表现莲花化生的不同品级。宋代大足石刻莲花化生童子的创意设计是对经文的遵从与超越,是佛教艺术世俗化的表现,既有强烈的佛教意味,又有鲜活的世俗化、个性化色彩。大足石刻三品九生题材,以巨幅的画面、精湛的雕刻技艺、写实与写意相结合的艺术表现,堪称中国宋代石窟艺术中观无量寿佛经变相图的杰作,其中的化生童子造像具有画龙点睛之妙用。The Lotus Metamorphosis is a statue representing the passing of Amitabha believers into the Western Paradise,as described in Amitāyurdhyāna-sūtra(Amitayus’Meditation Sutra).The nine groups of sculpted images of the Three Stages and Nine Lives in the Dazu Rock Carvings represent the different stages of the metamorphosis of the lotus in the shape of metamorphosed children in different positions,such as standing,sitting,or kneeling inside the lotus and its leaves.The creative design of the children’s statues of the Lotus Metamorphosis is an expression of obedience to and transcendence of the sacred texts,as well as a manifestation of the secularisation of Buddhist art.The children’s statues of the Lotus Metamorphosis contain strong Buddhist meaning,mingled with secular and personal expression contained in the work’s lively pigments.The design of the Three Stages and Nine Lives,marked by a huge graphic composition,exquisite carving,and artistic expression combining realism and impressionism,is a masterpiece of translating Amitayus’Meditation Sutra into graphic form in the grotto art of the Song dynasty,in which the statue of the Lotus Metamorphosis constitutes its finishing touch.

关 键 词：大足石刻 莲花化生 观经 世俗化 艺术价值 

分 类 号：K879.3[历史地理—考古学及博物馆学]