本文在实地调查基础上,详细考释了安岳毗卢洞观音造像窟主尊两侧四组浮雕图像,并且探讨了其粉本来源与时代特征.这四组图像分别是火坑难、刀杖难、雷电难、毒药难,与明代版画、写绘本《观世音菩萨普门品》观音救难图像的表现尤为接近,应为明代补刻,反映了观音救难思想持续流行及其图像不断发展的情况.

本文在充分实地调查的基础上,详细辨识石窑峁石窟第 1 窟明代壁画内容,并且分析了其中蕴含的思想内涵和艺术风格.认为前壁二郎神与城隍、关羽与土地具有护持道场的功能,反映了佛教信仰的民俗化倾向.左右两侧壁连同后壁已缺失壁画,构成以药师七佛为主体的药师经变,体现去除疾病、消灾祈福思想.壁画布局设计巧妙,技艺精良,将此前和同时期佛教艺术融汇贯通,又别出心裁形成独特风格,成为陕北地区罕见的明代壁画精品.

备受瞩目的敦煌莫高窟三兔共耳图像从哪里来,寓意何在,长期以来学界众说纷纭.2018年笔者在考察犍陀罗过程中,发现塞杜沙里夫遗址出土三兔共耳图像资料,敦煌同类图像的源头终于有了着落,这种图像的产生和内涵问题也引发新的思考.

本文详细论证了北京定陵出土五件佛菩萨像发簪的造型特征,并揭示了其所反映的思想内涵和历史背景.这五件发簪不仅是时代的产物,而且折射出明万历年间宫廷佛教信仰的状况.孝端皇后的佛像簪(D112:41),传递出人世间的美好心愿,是佛教世俗化的一种表现形式.孝靖皇后的两件立佛簪(J124:18、J124:2)应为阿弥陀佛接引像;另外两件鱼篮观音簪(J124:17、J125:14)和立佛簪(J124:18)的设计理念及组合方式相同,四件发簪均体现了往生西方净土世界的思想内涵.它们是孝靖皇后生前净土信仰的真实写照,这成为本文最主要的创新点.

本文基于实地调查,运用美术史图像学和风格学方法,对榆阳石窑峁石窟第2窟明代壁画进行全面分析.文章认为左壁观音救难与右壁地藏十王组合图像的对应配置,延续并发展了传统同类图像,反映了民众希望得到菩萨现世救济和地狱救济的心理诉求.观音群像以及地藏十王组合掌善、掌恶二童子,道明和尚与闵公长者,五道图像等的表现,凝聚着浓郁的地域和时代文化气息.

本文基于实地调查,详细分析了富县庙沟罗汉堂第1窟造像.前壁涅槃图像(入涅槃、金棺说法)与左右壁十六罗汉像组合,反映了十六罗汉在释迦佛涅槃之后护法与传法的内涵.涅槃图像的比丘掩面哭泣造型,以及出殡仪仗,与同时期世俗丧葬礼仪联系紧密.十六罗汉之降龙伏虎罗汉形成显著时代特征.该石窟由北宋晚期介子用为首的工匠班底开凿,对于了解陕北宋金石窟的全貌,尤其是介氏工匠家族的造像活动,发挥着举足轻重的作用.

环扣链条作为印度菩萨像的装饰物,广泛流行于笈多时代、后笈多时代,直至帕拉时代,波及古印度大部版图.约自6世纪50年代,印度菩萨像环扣链条状饰物自海路传入中土,并进一步吸收汉地世俗社会流行的链条式样迅速中国化,北周、北齐、隋代在成都、关中、陇东、邺城等区域风行一时,连绵至初盛唐敦煌地区.菩萨像环扣链条状饰物生动地反映了当时的文化交流与融合情况,亦展现出中国佛教造像艺术强大的生机活力.

本文从具有特定造型和内涵的入定观音像人手,梳理了以蒙头趺坐为特征的入定观音像的形成与发展.入定观音像造型在北宋晚期禅宗大发展的背景下,来源于打坐禅僧并被赋予禅定与般若意涵,两宋之际传布江南地区.南宋、元代造像增加了宝冠、璎珞等细节刻画,在江浙、江西、巴蜀等禅宗发达区域广为流传.明清时期入定观音像造型趋向多样化,双手施禅定印及披风与外衣分开表现成为新时代特征.其在发展过程中与水月观音、紫竹观音融合,并出现与十六罗汉组合现象,乃为补陀洛迦山观音信仰影响的结果.

榆林悬空寺万佛洞罕见保存着精美的大型明代石窟寺院壁画.其中东柱内侧面地藏十王地狱变相表达了趣善之人生前预修诸功德,以期将来经由地藏菩萨救度往生西方净土世界的思想,同时具有追荐亡魂、普度众生的功能.图像基于中土编纂《佛说十王经》与《佛说地藏菩萨经》表现,并融合水陆画因素,思想逻辑谨严清晰,将地藏十王地狱变相这个传统题材提升到全新境界,为佛教艺术增添一个难得的绘画佳作.

Based on field investigation and published materials, this paper presents a detailed analysis of the coronets of Song dynasty stone bodhisattvas in Sichuan province and comes to the following conclusions: coro-nets with patterns of coiled floral and peony were highly developed from late Northern Song to late Southern Song dynasty. Inheriting the traditions of the Tang and Five Dynasties and absorbing the elements of secular coiled floral designs in the Song dynasty, the coronets with coiled floral designs were further developed; coronets with peony designs were a creation for Bodhisattva images because the peonies were very popular among the Song dynasty people and the center of peony cultivation moved to Sichuan. From the late Northern Song to early Southern Song dynasty, the two kinds of coronets were flexible in design, especially in the Shaoxing era (1131-1162) during the Southern Song dynasty, which showed the creativity of that time. In late Southern Song dynasty, the patterns of these two types reached their perfection. The evolution of the coronets of Song dynasty stone bodhisattvas in Sichuan reflects the secularization and localization processes of Buddhist art.

五代时期,在中晚唐白衣观音造型的基础上,江南地区率先创造出一种冠搭披风且与外衣一体化、两手在腹前交叉并持数珠的新样观音,本文称之为江南式白衣观音.江南式白衣观音,两宋时期以雕塑为主体,在南方地区迅速发展演变,又促成了数珠手观音等新形式;元明清时期,这种白衣观音图像以绘画、线刻为主,且风行大江南北,进而与水月观音、送子观音、善财童子图像融合,被赋予新时代文化内涵.江南式白衣观音图像的发展,展现了佛教艺术大众化、民俗化的过程.

太原永宁寺明代壁画阿弥陀佛四十八愿图像,为迄今所知唯一的此类壁画遗迹,充实了中国佛教美术史的内容.壁画由太原县和太谷县僧俗供养人出资绘制,是明代西方净土信仰流行和重视佛教修行实践背景的产物.图像基于南宋王日休校辑<佛说大阿弥陀经>卷上<四十八愿分第六>表现,将山水画与人物画技法有机地结合起来,画面具体形象,工致精细,是不可多得的明代壁画精品.

As the only known historical remains of such kind of mural arts to date,the representation of Amitabha's Forty-eight Vows in Ming Dynasty in Yongning Temple,Taiyuan, which was contributed financially by the monks and laymen from Taiyuan County and Taigu County,greatly enrich the content of the Chinese Buddhist Art History as the result of the popularity of the western pure land faith and the emphasis upon self-cultivation practice of Buddhism in Ming Dynasty.Drawn and designed on the basis of the interpretation in Chapter 6"Amitabha's Forty-eight Vows"from Sukhavativyuha vol.1 collated and compiled by Wang Rixiu of South Song Dynasty,it is ranked among the rare mural arts with the combination of landscape painting skills and figure painting techniques.