巴蜀佛教石窟艺术与周边佛教艺术之关系——以唐以前的巴蜀石窟为例

Relations between Buddhist Art in Bashu Grottoes and Surrounding Areas:a Case Study of Bashu Buddhist Grottoes before the Tang Dynasty

唐以前的巴蜀佛教石窟艺术大致可以分为三个时期:北魏晚期、北周、隋代。巴蜀石窟艺术在此阶段兴起并初步发展,此间造像的粉本多来自洛阳、长安等地。大致来看,洛阳地区石窟艺术对巴蜀石窟的影响主要在北魏晚期,两者在洞窟形制、造像风格等方面多有相似。麦积山石窟艺术在北魏晚期对巴蜀石窟也曾产生影响,例如两者均有相似的三壁三龛式窟,但"三瓣式悬裳座"可能是川北广元影响了麦积山。长安地区的佛教艺术对巴蜀石窟的影响主要在北周和隋代,两者在佛帐形龛、菩萨装饰和造像风格等方面有诸多相似。南朝造像艺术主要是通过长安地区对巴蜀石窟产生间接影响。

Buddhist art before the Tang dynasty in grottoes of the Bashu region can be roughly divided into three stages： late Northern Wei, Northern Zhou and Sui. That was the early development period of Bashu Buddhist grottoes, when sculptures from Luoyang, Chang＇an and other places were taken as the prototype. Generally speaking, the influence of Luoyang grottoes mainly extended in the late Northern Wei, as can be found in the similar shape of caves and style of sculpture. The Maijishan Grottoes influenced the Bashu grottoes in the late Northern Wei as well, in terms of the ＂three wall niches＂ structure, but the ＂three-petal Buddha seat＂ style in Guangyuan may have influenced the Maijishan art. The influence of Buddhist art in Chang＇an mainly extended in the Northern Zhou to Sui period in tent-shaped niche, bodhisattva decoration and sculpture style. Buddhist sculpture of the Southern Dynasties had an indirect impact on Bashu grottoes through Chang＇an.