云冈石窟第11—13窟图像构成分析

发布时间：2018-05-09 21:04

本文选题：云冈第—窟 + 图像构成　；参考：《敦煌研究》2017年04期

【摘要】：云冈石窟第11—13窟是开凿于云冈第二期(约470—495)的一组洞窟,其内部造像可区分为一体设计与非一体设计两种。第12窟整体出于一体设计,其主室中轴线及前室东西壁设置"释迦多宝佛+释迦佛+弥勒(菩萨、佛)"之图像组合,与第二期前段第7—10窟图像思想一脉相承。第13窟大致存在整体规划,并以北壁主尊交脚弥勒菩萨为中心,表述弥勒上生信仰。该窟两侧壁中层龛像及第11窟造像并非开窟时一体设计。通过分析其中部分佛龛的组合情况可知,当时通过信仰大乘佛法而往生兜率天并最终成佛的思想,在一般信众中亦普遍流行。
[Abstract]:The 11-13 Grottoes of Yungang Grottoes is a group of caves excavated in the second phase of Yungang Grottoes (about 470-495). The 12th Cave was designed as a whole. The main chamber axis and the east and west wall of the front chamber were set with the image combination of "Sakyamitar Buddha Maitreya (Bodhisattva, Buddha)", which was in the same vein with the image of Grottoes 7-10 in the second phase. The 13th Grottoes have a general overall planning, and the north wall of Maitreya Bodhisattva as the center, to express the Maitreya belief. The two sides of the wall of the middle niche and 11 grottoes are not a hollowed design. Through the analysis of the combination of some of the niches, it can be seen that the idea of dying and eventually becoming a Buddha by believing in the Mahayana Dharma was also popular among the general believers at that time.
【作者单位】：敦煌研究院编辑部;清华大学美术学院;
【分类号】：K879.22

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