陕西麟游青莲山寺摩崖造像调查

The Investigation of the Cliff Sculptures at Qinglianshan Temple in Linyou, Shaanxi

陕西省麟游县青莲山寺摩崖造像共有十六龛,可以分为三期:其下层五龛雕造于唐太宗贞观年间,上层四龛补凿于贞观晚期至唐玄宗(712-756年在位)执政之前,而其余各龛为北宋补凿。在题材上,青莲山寺摩崖不仅有一般的佛与菩萨组合,还有显明的佛传题材。K3与K13很可能表现的是西土传法祖师像。K8的炽盛光佛也是唐以后流行的题材,宋代补凿的K4表现入宋以后流行的水月观音像。从供养人像来看,这处摩崖造像的主要捐资者是女佛教信徒。各期龛像均表现出了浓重的民间地方风格。

The cliff images of the Qinglianshan monastery in Linyou County, Shaanxi Province, consist of 16 imagery niches, which can be divided into three phases：the ifve niches in the lower register were carved in the Zhenguan Era （627-649） of the reign of Emperor Taizong （598-649） during the Tang Dynasty （618-907）;the four niches in the upper register were carved as make-up in the late Zhenguan Era to the beginning of the reign of Emperor Xuanzong （r. 712-756） during the Tang, and the rest were carved in the Northern Song Dynasty （960-1127）. The motifs of the sculptures include not only the general Buddha-bodhisattva assemblies, but also the scenes of the life of the Buddha. The motifs of niche nos. K3 and K13 are possibly the symbolic portraits of the patriarchs who transmitted Buddhist Dharma from Sakyamuni Buddha. The Tejaprabha Buddha in niche no. K8 was also a popular motif after the Tang; niche no. K4 carved in the Song Dynasty （960-1279） represents the image of Water-Moon Guanyin which became popular since the tenth century. The images of the donor ifgures show that the sponsors of these Buddhist imagery niches were mainly female Buddhists. The cliff images from all of the phases represent the strong folk styles from the local area.