鸿庆寺第一窟造像题材与图像配置探讨  

Discussion on Motifs and Image Arrangements in Grotto No.1 of Hongqing Temple

作　　者：李雯雯 LI Wenwen

机构地区：[1]河南大学历史文化学院,河南开封市475001

出　　处：《华夏考古》2024年第3期105-114,共10页Huaxia Archaeology

基　　金：2023年河南兴文化工程文化研究专项项目“河南北朝小石窟造像研究”(项目编号:2023XWH241)的阶段性成果。

摘　　要：鸿庆寺石窟第一窟雕刻内容丰富,通过对相关造像的梳理与对比可推测:第一窟正壁“降魔变”南北两侧的立佛菩萨图分别表现的是“小儿施土”与“定光佛授记”的场景。此二图像源自捷陀罗艺术,是北朝时期中原地区流行的造像题材。两图对称并与“降魔变”组合出现的布局与云冈石窟第12窟相似,窟内其他造像题材也明显延续了云冈石窟二期风格。不同的是,鸿庆寺石窟第一窟的造像,用更为宏大且复杂的形式展现了对三世佛的信仰。The carvings in grotto No.1 of Hongqing Temple have rich content.Through sorting out relevant statues and comparisons,it can be inferred that,in grotto No.l,the standing Bodhisattva images on the north and south sides of"The Story of the Vanquishing Mara"on the main wall depict the scenes of"Xiao Er Shi Tu(Kids Offering Dirt as Grains to Buddha)"and"Prophecy of Buddha Dipankara"respectively.Both originated from Gandhara Art,and were popular motifs in Central China in Northern Dynasties.The images being symmetrical and the way they are grouped with"The Story of the Vanquishing Mara"are similar to what is found in grotto No.12 of Yungang Grottoes.In grotto No.1 of Hongqing Temple,the motifs of other statues are also found obviously continuing the style of the second phase of Yungang Grottoes.The difference is that the statues in grotto No.1 of Hongqing Temple show the belief in Trikalea Buddhas in larger and more complex forms.

关 键 词：鸿庆寺石窟 小儿施土 定光佛授记 健陀罗艺术 云冈石窟 

分 类 号：K879.3[历史地理—考古学及博物馆学]