新疆克孜尔石窟早期洞窟研究(上)

Early Research on Kizil Grottoes

克孜尔石窟壁画是西城美术和中国佛教美术的重要早期遗存之一。近百年来,中外学者们致力于研究其分期断代和风格渊源。目前,勘测著录的普遍开展,图像材料的大量刊布,个案研究的深入进行,为重新审视这一美术宝库提供了新的条件。在众多洞窟中,76、77、92、118、207、212等窟代表了克孜尔石窟壁画发展的早期阶段。本文针对它们的建筑形制、石窟类型、宗教功能、绘塑题材、布局、风格与样式加以探讨。这些洞窟为了配合禅观修行,出现了帝释窟禅定、山岳禅定以及和禅修关系密切的弥勒菩萨形象。画面的视觉效果和图像结构表现出犍陀罗雕塑的影响。河西石窟中最早的天梯山北凉洞窟与炳灵寺西秦洞窟,与克孜尔此期壁画的渊源关系最为明显,由此推断该期壁画大致的绝对时间在4世纪晚期至5世纪中叶。

Kizil wall paintings are fundamental historical remains of West Region art or Chinese Buddhist art. Many scholars have advocated their theories on its chronology and origins since 1912. Investigations in situ, publications of images and case studies up to now are adequate enough to allow us to reconsider this treasure. Among numerous caves, Cave 76, 77, 92,118, 207 and 212 represent the early stage of the development of Kizil wall paintings. Their architectural structure, religious function, iconographic program, theme and style are to be discussed. (?)qkyamuni contemplating at the Indralailaguhq, monks meditating in the mountains and Bodhisattva Maitreya--which are all related to dhyqna——revail. The earliest paintings are in style and composition indebted to Gandhqran sculptures.Meanwhile,Northern Liang caves at Tiantishan and West Qin caves at Binglingsi are relatively close to this group. Consequently these caves may be placed in late fourth century-middle fifth century.