敦煌隋代中心柱窟的构成.docVIP

敦煌隋代中心柱窟的构成 　　内容摘要：敦煌隋代中心柱窟有4座，分为两个类型：一是须弥山式的中心柱，包括第302、303窟，中心塔柱形与须弥山造型有关，表现的主题是三世十方佛;第二类是中心柱正面不开龛的大型窟，包括第292、427窟，洞窟前部的三铺佛像表现的是三世佛主题。三佛造像在中国石窟中出现较早，北朝后期华北地区的石窟表现为较典型的三壁三龛窟，敦煌隋代洞窟受其影响，在中心柱窟中也表现出三世十方诸佛的主题。从造型及装饰风格因素来看，反映了敦煌隋代石窟在接受中原文化影响的同时也受到印度和中亚的影响 关键词：敦煌;隋代;中心柱窟;构成;三世佛 中图分类号：K879.21 文献标识码：A 文章编号：1000-4106（2015）06-0013-08 Constituents of the Central-Pillared Caves of the Sui Dynasty at Dunhuang ZHAO Shengliang （Editorial Department， Dunhuang Academy， Lanzhou， Gansu 730030） Abstract： There are four caves from the Sui dynasty at Dunhuang designed around a central pillar which are classified into two types： first， caves 302 and 303， in which the central pillars are shaped like Mt. Sumeru to represent the Buddhas of the Three Periods （the past， present， and future） and Ten Directions and; second， caves 292 and 427， in which the central pillars do not have a niche in the front side and the Buddhas of the Three Periods are represented by three groups of statues in the front of the caves. Statues of the Buddhas of the Three Periods appeared early in Buddhist caves in China. In later Northern Dynasties， this theme was represented in the caves of Northern China by three niches in different side walls. Influenced by this practice， the central-pillared caves of the Sui dynasty at Dunhuang further highlight the theme of the Buddhas of the Three Periods and Ten Directions. The forms and decorative styles of these caves suggest that the design was influenced by Central Plain culture as well as Indian and Central Asian cultures Keywords： Dunhuang; Sui dynasty; central-pillared cave; constituent; Buddhas of the Three Periods （Translated by WANG Pingxian） 隋朝（581―618）是中国封建社会时代由分裂到统一并在政治经济文化等方面逐渐走向强盛的重要阶段。由于隋文帝从小在寺院长大，对佛教有着特殊的感情，他大力倡导佛教信仰，于是各地纷纷营建佛寺、石窟，佛教写经的事业也兴旺发达。隋朝的丝绸之路贸易十分兴盛，中外经济文化的交流与发展，为敦煌石窟的营建提供了基础。隋代短短的37年间，莫高窟兴建了洞窟100多个，在莫高窟营建史上具有承前启后的意义 敦煌隋代的石窟主要分为两个类型，一为方形殿堂窟，一为中心柱窟。中心柱窟仅4例，在隋代开凿的101个洞窟①中所占比例极小。但这一时期中心柱窟的变化，反映着当时中国佛教艺术的新风格，在佛教石窟艺术发展史上具有重要意义