重庆荣昌刘家庙新见南宋十圣观音窟初考  

A Preliminary Study of a Newly Discovered Southern Song Dynasty Cave with “Ten-Avalokitesvara” Statues at Liujia Monastery in Rongchang, Chongqing

作　　者：邓新航 龙红 DENG Xinhang;LONG Hong(School of Fine Art,Chongqing Normal University,Chongqing 401331;School of Architecture and Urban Planning,Chongqing University,Chongqing 400030)

机构地区：[1]重庆师范大学美术学院,重庆401331 [2]重庆大学建筑城规学院,重庆400030

出　　处：《敦煌研究》2024年第1期73-82,共10页Dunhuang Research

基　　金：国家社科基金艺术学项目“巴蜀石窟艺术编年与研究”(23EF226);重庆市社会科学规划一般项目“巴蜀石窟飞天艺术研究”(2020YBYS184)。

摘　　要：重庆荣昌刘家庙十圣观音窟是目前所见大足地区以外同类题材的唯一一窟。此窟雕凿于南宋绍兴年间,其造像粉本虽源自巴蜀地区宋代石窟艺术的中心——大足,但也并非完全模仿,而是加入了荣昌当地工匠的个性理解和设计创造。川东大足、荣昌一带的十圣观音造像,不仅是宋代昌州地区极具时代性和地域性的观音群像,而且也是五代以来观音信仰加剧中国化、民间化、区域化和世俗化的鲜活物证。A newly discovered cave with several “Ten-Avalokitesvara”(Guanyin) statues at Liujia Monastery in Rongchang,Chongqing, is currently the only known cave to contain such a theme outside of the Dazu area. The cave was carved during the Shaoxing era of the Southern Song dynasty. Although the draft used to create these statues originated from Dazu, which was the center of Song dynasty cave art in the Bashu region, it was not a direct imitation of the blueprint. Instead, local artisans in Rongchang infused elements of their artistic practices into the design to create a group of Guanyin statues rich in the unique regional characteristics of the Changzhou region during the Song dynasty. These statues are a vivid manifestation of the Sinicization, popularization and regionalization of Buddhism that began in the Five Dynasties period, and which was greatly accelerated by belief in Guanyin.

关 键 词：重庆荣昌 刘家庙石窟 南宋时期 十圣观音 大足石刻 

分 类 号：K879.29[历史地理—考古学及博物馆学]