陕西延安甘泉兰家川石窟调查与研究

Investigation and Research of the Lanjiachuan Grottoes in Ganquan County,Yan’an City,Shaanxi Province

在实地调查基础上,应用类型学和图像学相结合的方法,详细考释了陕西延安市甘泉县兰家川石窟北宋浮雕图像的内容,并且分析了图像来源和思想内涵。图像组合以释迦佛为主尊,周围配置十六罗汉、佛传、观音救难、文殊普贤与天王像,表述成道、传承佛法、现世救济、华严经菩萨行等多种思想观念,反映了陕北佛教信众的心理需求。佛传图像之六年苦行融合鹊巢于顶、芦芽穿膝,尤其彰显时代特征。该石窟浮雕图像与唐宋时期敦煌绘画联系紧密,生动体现了陕北与敦煌两地的文化交流情况。

Based on field investigation and studies in typology and iconology,this paper presents a detailed examination and interpretation of the contents of the Northern Song dynasty reliefs in the Lanjiachuan Grottoes at Ganquan,Yan’an City,Shaanxi Province,and analyzes the historical sources and conceptual content of the reliefs.There are many Buddhist scenes depicted in the reliefs,including life stories of the Buddha,Avalokitesvara rescuing people from calamity,Manjusri Bodhisattva,Samantabhadra Bodhisattva,the Heavenly Kings,the Sixteen Arhats,and a central Buddha Shakyamuni.The selection of these images was intended to express various religious concepts such as enlightenment,the inheritance of Buddhist doctrine,secular relief,and the Buddhist path as outlined in the Avatamsaka Sutra;the combination of which reflects the psychological and spiritual needs of Buddhist believers in northern Shaanxi during the Northern Song dynasty.A particularly striking image painted in a style characteristic of the era depicts the six years of Sakyamuni’s ascetic practices and show him with a nest on his head and reeds growing thickly around his legs.The images in the reliefs at Ganquan are very similar to paintings at Dunhuang from the Tang and Song dynasties and provide a clear picture of the cultural exchange between northern Shaanxi and Dunhuang during this period.