陕西富县梨树窑子观音殿石窟调查简报

A Brief Survey of Lishuyaozi Guanyindian Grotto in Fuxian County of Yan’an City,Shaanxi Province

梨树窑子观音殿石窟形制属于陕北地区的小型单窟,有明确纪年题记,造像组合题材包括自在坐观音像、十六罗汉像以及天王像等,是陕北宋金时期民间开凿的具有代表性的小型洞窟。其自在坐观音像、罗汉像和天王像、老者像均雕在山形龛内,正壁为自在坐观音像、左右两壁为对称的十六尊罗汉像和天王像,已形成北宋时期陕北地区较为固定的石窟造像组合模式,是陕北地区不同于其他地区所独有的造像组合题材,反映了当时民众佛教的信仰情况。梨树窑子观音殿石窟的开凿工匠为史氏,有助于了解陕北地区宋金时期开窟造像匠人史氏雕刻的造像风格和技艺,为研究陕北地区及葫芦河流域的宋金时期佛教的发展以及佛教文化与艺术的传播,提供了珍贵的实物资料。

Based on a detailed introduction to the Lishuyaozi Guanyindian Grotto in Zhangjia Village of Zhangcunyi Town,Fuxian County,Yan’an city,Shaanxi province,this paper makes a preliminary discussion on the theme of the statues and the inscription from the fifth year of the Xuanhe Period of the Northern Song dynasty(1123).Located in northern Shaanxi,the Lishuyaozi Guanyindian Grotto is a small single grotto with a specific date and a rich content,which was elaborately carved and stands as a representative of grottoes from Song-Jin period in this area.It’s considered to be sponsored by civilians.Statues of Avalokitesvara,arhats,lokapalas(heavenly guardians)and an elderly man are all carved in mountain-shaped niches.The sitting statue of Avalokitesvara is arranged in the main wall,while the sixteen arhats and the lokapalas are distributed symmetrically in the left and right walls.Created in a natural,vivid and lifelike style,the statues follow a somewhat set pattern of the Song-Jin period in northern Shaanxi,which forms a distinctive assemblage unseen in any other regions.The theme and combination of statues shed light on the Buddhist beliefs at that time.As the work of craftsman Shi,the grotto represents his style and skills.Meanwhile,it provides valuable materials for the study of the development of Buddhism in Song-Jin period as well as the spread of buddhist culture and art in the Hulu River valley of Northern Shaanxi.