巴中南龛李思弘重妆龛像及相关问题研究

A Study on the Niches Repainted by Li Sihong in the Southern Niches of Bazhong

川渝地区保存着一大批唐宋时期的石窟寺,目前的学术研究更多关注石窟寺雕绘完成时的初始面貌,但对重妆等后期活动留下的丰富历史信息重视不足。本文以巴中南龛李思弘妆彩龛像为例,探讨石窟寺重妆现象。综合重妆记、题名及相关遗存,可将李思弘两次重妆的龛像与现存造像一一对应;同时,透过重妆活动,还可进一步揭示出李思弘这样一个唐代下级武官的信仰及其仕途、家族等一系列不同于初始面貌的新内涵。通过这一案例,本文认为,对重妆遗存的专门讨论以及对石窟寺全序列遗存的整体关注,是透过石窟寺研究川渝地区古代信仰及历史等问题的新视角。

A large group of cave temples from the Tang and Song dynasties has been preserved in Sichuan,the cave sculptures they contain being of particular interest to researchers and historians. Current academic research mainly focuses on the initial state of the caves while less attention has been paid to the subsequent renovations made throughout history, including the current state of the caves as they are today. Focusing on the Southern Niches at Bazhong repainted by Li Sihong, this paper discusses the artwork extant today and the historical process that brought it to this point. By combining these sculptures with repainted inscriptions, titles, and relevant cultural relics, the author not only matches the niches repainted by Li Sihong with other individual extant niches, but also conducts biographical research on the painter that includes information about Li Sihong’ s faith,official career, and family background. Through this case study, this paper concludes that specified discussion of historical renovations combined with comprehensive awareness of the entire series of niches at Bazhong can provide a new vision for the study of ancient belief and history in Sichuan through the research of cave temples.