形式的力量:帝后礼佛图形式研究  

The Power of Form:A Study of the Form of the Images of the Emperor and Empress Worshipping Buddha

作　　者：焦琳 Jiao Lin

机构地区：[1]鲁迅美术学院人文学院,辽宁沈阳110004

出　　处：《艺术探索》2024年第5期55-64,共10页Arts Exploration

基　　金：辽宁省教育厅基本科研项目青年项目“一带一路文化遗产数字资源整合、研究与传播——以龙门石窟洞为例”(WQ202003)。

摘　　要：帝后礼佛图为佛教供养人像中特殊的一种,其表现形式为中心人物头戴冕冠或宝冠,周边侍者环绕在其周围或紧随其后,人物均呈出行状态。北魏时期出现的帝后礼佛图,以龙门石窟宾阳中洞及巩义石窟第1窟为主。宾阳中洞选择复杂的主从样式,是因其功能并非单纯的礼佛,祈求保佑,更是通过侍者及其目光构成的复杂通道,引导已故帝后在佛祖保佑下前行。而巩义石窟特意强调身份、地位、次序、正统等,一方面可能是汉化制度的进一步发展,另一方面也因其意欲体现帝后尊容及权威而采取了规整的形式。The images of the emperor and empress worshipping Buddha represent a unique category within Buddhist patron statues,characterised by the central figures wearing a diadem or a jewelled crown,with attendants surrounding them or following closely behind,all in movement.The images of the emperor and empress worshipping Buddha that emerged during the Northern Wei dynasty were mainly found in the Binyang Central Cave of the Longmen Grottoes and the first cave of the Gongyi Grottoes.In the Binyang Central Cave,the viewer is confronted with a complex master-servant style,not only for the purpose of worship and prayer for blessings,but also to guide the deceased emperor and empress forward,under the protection of the Buddha,through the complex pathways formed by the attendants and their gazes.In the Gongyi Grottoes,emphasis is deliberately laid on aspects such as identity,status,order,and orthodoxy,which may constitute a further development of the process of sinicisation,while also adopting a regular form to reflect the dignity and authority of the emperor and empress.

关 键 词：帝后礼佛图 龙门石窟 巩义石窟 供养人像 帝王像 

分 类 号：K879.4[历史地理—考古学及博物馆学]