桂林唐代摩崖观音像初步研究 -《敦煌研究》(2021年4期).docx

龙源版权所有 桂林唐代摩崖观音像初步研究 作者：刘勇 胡小玉来源：《敦煌研究》2021年第04期 内容摘要：桂林摩崖造像中有3铺单尊观音立像，其双足外撇、足跟相对的表现手法相当特别。通过与同时期国内其他石窟寺造像的比较研究，发现这种表现形式可能与波罗王朝时期东印度的造像艺术有关，带有一定的密教色彩。唐朝中后期在藏东、川西和青海玉树等地的摩崖造像上有所表现，之后随着吐蕃势力的壮大流传到河西地区，最后通过吐蕃与大唐间的佛教文化交流到达长安。造像主宋伯康来自于长安显赫的宦官世家，观音像的粉本极有可能是由他自长安带到桂州。从这些观音像可以窥见唐末桂州的佛教信仰以净土宗和禅宗为主。 关键词：桂林;唐代;观音像;长安 中图分类号：K879.29 文献标识码：A 文章编号：1000-4106（2021）04-0072-12 Abstract：There are 3 separate reliefs engraved on the cliffs at Guilin depicting Guanyin（Avalokitesvara） that are characterized by outward pointing toes and connected heels. A comparative study of the three statues and other contemporary works depicting Guanyin found in other cave temples in China suggests that this style of sculpting feet is likely related to the sculpture of the Pala Empire in eastern India， the form of which often resembled esoteric Buddhist images. In the middle and late Tang dynasty， this art style can be found in cliff engravings throughout the region and examples have been found in east Tibet， west Sichuan， and Yushu， Qinghai province. After the spread of Tibetan artistic influences， the style later spread to the Hexi Regions and eventually reached Chang’an after a series of Buddhist cultural exchanges between the Tibetans and the central government of the Tang dynasty. Song Bokang， the patron that sponsored the construction of the reliefs， came from the family of a eunuch， which may indicate that the draft of this image of Guanyin was brought by him from Chang’an to Guizhou. Furthermore， it can be seen from these images that the Pure Land Sect and Chan Sect dominated the Buddhist beliefs in Guizhou at the end of Tang dynasty. Keywords：Guilin; Tang dynasty; Guanyin statues; Chang’an 廣西桂林市不仅以“甲天下”的山水风光闻名于世，也是我国著名的历史文化名城。这里文物古迹众多，其中包括岭南地区年代最早、数量最多、持续时间最长的摩崖造像。桂林唐代摩崖造像中有为数不少的观音题材，既有单尊观音，也有二观音像，最普遍的题材当属与大势至、阿弥陀佛组成的“西方三圣”。这些观音像中，有3铺单尊立像造型较为独特，分别位于漓江西岸的伏波山千佛洞和虞山。它们龛形较大，高度均超过180厘米，属中、大型龛，表明供养人有相当的身份、地位及财富。保存情况较好，造像的细节便于观察研究，这些造像都采用一种特殊表现方式：双足外撇，足跟相对，呈“一”字形。在桂林其他区域还开凿有许多初唐、盛唐时期的造像，但都采用的是双足