本文選題：夾江 + 千佛巖　； 參考：《考古與文物》2014年03期

【摘要】：夾江千佛巖現(xiàn)存摩崖造像165龕,分為六個(gè)造像區(qū),初步分為五期:盛唐、中唐、晚唐、五代~宋初、明代。中晚唐~五代造像以中型龕為主;明代造像絕大部分為微型龕。中晚唐~五代龕窟龕楣以帶三角斜撐為主;明代龕窟龕楣均無(wú)三角斜撐。特殊造像題材有三佛并坐、四佛并坐、凈土變、阿彌陀佛與觀音地藏并列、觀音地藏并列、雙觀音、地藏獨(dú)尊、毗沙門天王、千手觀音、三圣僧、塔等。各區(qū)的造像中均存在后代加裝和改刻現(xiàn)象。
[Abstract]:There are 165 niches of cliff statues in Chiajiang River, which are divided into six parts: prosperous Tang Dynasty, Middle Tang Dynasty, late Tang Dynasty, five dynasties ~ early Song Dynasty, and Ming Dynasty. In the middle and late Tang ~ five dynasties, the statues were mainly medium-sized niches; most of the Ming Dynasty statues were miniature niches. In the middle and late Tang to five dynasties niche lintel with triangle diagonal brace mainly; the Ming dynasty niche lintel do not have triangle oblique brace. The special subjects include three Buddhas sitting together, four Buddhas sitting together, the Pure Land changing, Amitabha Buddha and Quan Yin Tibetan side by side, double Quan Yin, Pishamun King, Thousand hands Quan Yin, three holy monks, pagodas and so on. All the statues in each district have their offspring installed and engraved.
【作者單位】： 西北大學(xué)文化遺產(chǎn)學(xué)院;西安美術(shù)學(xué)院中國(guó)藝術(shù)與考古研究所;
【基金】：四川省文物考古研究院、日本早稻田大學(xué)文學(xué)部美術(shù)史學(xué)系、西安美術(shù)學(xué)院中國(guó)藝術(shù)與考古研究所等三家單位聯(lián)合進(jìn)行的“夾江千佛巖摩崖造像合作研究”課題的成果之一
【分類號(hào)】：K879.3
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本文編號(hào)：2030427