本文選題：云岡第—窟 + 圖像構(gòu)成�。� 參考：《敦煌研究》2017年04期

【摘要】：云岡石窟第11—13窟是開鑿于云岡第二期(約470—495)的一組洞窟,其內(nèi)部造像可區(qū)分為一體設(shè)計與非一體設(shè)計兩種。第12窟整體出于一體設(shè)計,其主室中軸線及前室東西壁設(shè)置"釋迦多寶佛+釋迦佛+彌勒(菩薩、佛)"之圖像組合,與第二期前段第7—10窟圖像思想一脈相承。第13窟大致存在整體規(guī)劃,并以北壁主尊交腳彌勒菩薩為中心,表述彌勒上生信仰。該窟兩側(cè)壁中層龕像及第11窟造像并非開窟時一體設(shè)計。通過分析其中部分佛龕的組合情況可知,當(dāng)時通過信仰大乘佛法而往生兜率天并最終成佛的思想,在一般信眾中亦普遍流行。
[Abstract]:The 11-13 Grottoes of Yungang Grottoes is a group of caves excavated in the second phase of Yungang Grottoes (about 470-495). The 12th Cave was designed as a whole. The main chamber axis and the east and west wall of the front chamber were set with the image combination of "Sakyamitar Buddha Maitreya (Bodhisattva, Buddha)", which was in the same vein with the image of Grottoes 7-10 in the second phase. The 13th Grottoes have a general overall planning, and the north wall of Maitreya Bodhisattva as the center, to express the Maitreya belief. The two sides of the wall of the middle niche and 11 grottoes are not a hollowed design. Through the analysis of the combination of some of the niches, it can be seen that the idea of dying and eventually becoming a Buddha by believing in the Mahayana Dharma was also popular among the general believers at that time.
【作者單位】： 敦煌研究院編輯部;清華大學(xué)美術(shù)學(xué)院;
【分類號】：K879.22

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