长安传统与泗州样式:唐宋僧伽造像的两个序列  

Chang'an Tradition and Sizhou Style:Two Sequences of Sangha Statues from the Tang and Song Dynasties

作　　者：张亮[1] 杨潇[1] ZHANG Liang;YANG Xiao(School of Archaeology and Museology,Sichuan University,Chengdu 610064,Sichuan)

机构地区：[1]四川大学考古文博学院,四川成都610064

出　　处：《敦煌研究》2023年第3期88-97,共10页Dunhuang Research

基　　金：国家社科基金青年项目“川渝地区柳赵教派考古遗存的调查与综合研究”(20CKG017)。

摘　　要：四川和陕北地区的僧伽造像的题材组合高度一致,包括三尊、三圣、四圣和僧伽变相,可称之为僧伽造像的长安传统。江浙沪地区流行的形象固定的单尊僧伽坐像可称之为僧伽造像的泗州样式。前者产生于长安,是长安地区僧伽图像系统的映射,后者来源于泗州普光王寺的僧伽真身像,二者各自独立起源和发展。The subject of the Sangha(which in this case also includes depictions of Sengqie,a monk saint of the Tang dynasty)statues in Sichuan and Northern Shaanxi are highly consistent,as the statues of both locations include depictions of the Three Holy Ones,the Three Saints,the Four Saints,and were constructed to depict the story of Sengqie.The style of these statues can be regarded as belonging to the"Chang'an tradition."The single statue of a sitting monk of the Sangha,which is popular in Jiangsu,Zhejiang and Shanghai,has a fixed image and is made of different materials,and can therefore be called the"Sizhou style"of Sengqie's statue.The former style originated in Chang'an and reflects the iconography of the Chang'an area,while the latter originated from a portrait of Sengqie in the Puguangwang Temple in Sizhou.The two branches of iconography and artwork originated from different sources and developed independently.

关 键 词：僧伽 造像 长安 泗州 图像样式 

分 类 号：K879.29[历史地理—考古学及博物馆学]