麦积山石窟壁画内容述略

麦积山石窟是我国四大石窟之一,现有221个洞窟,保存有历代壁画1000余平方米。从题材内容看,主要有佛典故事、经变图、特殊变相、供养人像四类。麦积山石窟壁画内容丰富、题材多样,是北朝时期壁画的精品,具有很高的艺术价值和研究价值。     

麦积山石窟第127窟造像壁画思想研究

麦积山石窟第127窟出现众多经变壁画,题材内容丰富,篇幅绘画场面宏大,其中《西方净土变》等,是国内石窟寺中同一题材出现最早的经变相之一.它对我们研究中国石窟寺,不论是图像艺术,还是佛教思想弘传,都具有较高的资料价值和学术价值.佛教像教弘传重在思想教化,此文首次就这一方面对此窟造像壁画作了全面系统的综合研究,探析其像教佛教思想的如是教化,具有一些新的见解.     

陕西富县梨树窑子观音殿石窟调查简报

梨树窑子观音殿石窟形制属于陕北地区的小型单窟,有明确纪年题记,造像组合题材包括自在坐观音像、十六罗汉像以及天王像等,是陕北宋金时期民间开凿的具有代表性的小型洞窟。其自在坐观音像、罗汉像和天王像、老者像均雕在山形龛内,正壁为自在坐观音像、左右两壁为对称的十六尊罗汉像和天王像,已形成北宋时期陕北地区较为固定的石窟造像组合模式,是陕北地区不同于其他地区所独有的造像组合题材,反映了当时民众佛教的信仰情况。梨树窑子观音殿石窟的开凿工匠为史氏,有助于了解陕北地区宋金时期开窟造像匠人史氏雕刻的造像风格和技艺,为研究陕北地区及葫芦河流域的宋金时期佛教的发展以及佛教文化与艺术的传播,提供了珍贵的实物资料。     

四川石窟寺中常见洞窟形制及经变相考

石窟及经变相是佛教化的产物,也是佛教艺术的重要组成部份。而四川石窟形制与中原、北方早期石窟寺一脉相承,唐以后的变相题材受其影响。洞窟形制的类型多样性,丰富了佛教石窟艺术宝库,经变相的雕刻表述了对佛教理想境界的向往,并且每个石窟都以佛界为主体,自成一个世界,隐藏着教化的历史,蕴含着神秘哲理。虽然四川石窟寺遗存不多(以摩崖龛为主),但唐以来的经变相无论是题材、数量在全国仍占优势,摩崖龛像的大量遗存,突显了蜀地化的多样性。     

旺苍县佛子崖摩崖石刻造像调查简报

佛子崖摩崖造像位于旺苍县普济镇五星村东南150米处的一座山崖上,现存编号的龛像共41个。基本上开凿于盛唐时期,造像的题材、风格以及龛窟形制都与巴中石窟接近,应是受巴中石窟的影响。     

水陆画中的鬼子母图像

现存水陆画大多属于明清遗存,主要作品有:宝宁寺水陆画、北京法海寺壁画、甘肃永登感恩寺金刚殿栱眼壁画、河北毗卢寺壁画、河北蔚县重泰寺壁画、河北正定隆兴寺壁画,以及山西浑源永安寺、山西稷山青龙寺、山西灵石县资寿寺、四川广汉龙居寺、四川平武报恩寺万佛阁、四川新津观音寺毗卢殿以及日本藏宁波所出的水陆画等。在这些水陆画当中,出现了许多有趣的鬼子母及鬼子母变体以及鬼子母的组合图像,说明一种信仰在民间流传过程中产生的新创造。作者分析了有典型意义的鬼子母图像的图像样式来源及其图像学意义。     

简述大足石刻护法神造像

大足石刻唐、宋石窟中镌造的护法神造像,内容丰富,雕刻精堪,数量众多,龛窟计65个,凿护法神340身。具有重要的历史、艺术价值,鲜明的民族艺术风格和地方色彩,为研究唐、宋石窟护法神造像的题材内容及表现形式等方面提供了珍贵的实物资料。     

北石窟寺北朝供养人服饰调查与研究

北石窟寺是北朝时期陇东地区最大的佛教石窟,造像数量众多,题材丰富。供养人像是现实中的善男信女为表功德将自己的形象雕刻在自己供奉的窟龛内,其服饰具有鲜明的时代特色,反映社会政治、经济、文化变迁以及生活习惯等诸多方面。目前对于北石窟寺供养人像服饰研究成果较少,本文对北石窟寺北朝时期的供养人服饰进行了调查分析,结合相关文献并参考同时期考古发掘实物,对北石窟寺供养人服饰名称、款式、风格、特点及其形成原因进行论述。     

南京桦墅村石佛庵石窟的调查与初步研究

石佛庵石窟位于南京市江宁区汤山街道桦墅行政村境内的射乌山西南麓,是一处建于明代初期的佛教窟龛,现可见6个佛窟,每龛一像,共存像6尊,题材有西方三圣和千佛。根据调查可知,土下仍掩埋有不少窟龛,需待下一步的考古发掘和清理。石佛庵石窟是南京地区极少见的有准确纪年、并留存有彩绘遗迹的明朝早期石窟艺术,为研究和探讨明代佛教艺术提供了珍贵的资料,具有重要的历史、艺术价值。     

延安市宝塔区石窑石窟调查简报

石窑石窟位于陕西省延安市宝塔区河庄坪镇石窑村北,由两窟组成,时代为北宋晚期至金初期。造像题材主要有文殊、普贤菩萨,地藏菩萨、十王像,释迦涅槃图、佛塔,十六罗汉像等四种陕北地区常见的石窟造像组合,反映了战乱时期民众祈望借助神佛的法力来结束战乱,恢复和平、安宁的生活的心愿,为研究宋金时期佛教的发展以及佛教文化与艺术的传播提供了珍贵的实物资料。     

中国祆教艺术中的犬神形象

琐罗亚斯德教(Zoroastrianism)教徒对犬具有特殊的感情,在他们的日常生活和宗教礼仪中,犬都占据着重要的地位。本文以国内最新发现的祆教考古材料为基础,集中讨论了古代祆教艺术中的犬神形象。作者将祆教犬神形象分成三秧:普通犬神、带翼犬神、森穆夫或犬首鸟,对流传中国的祆教犬神形象进行了梳理,期望对研究祆教文化的传播、交流有所补益。     

An Umm an‐Nar culture stone bas‐relief from Al‐Qutainah,Sultanate of Oman

The Al‐Qutainah stone with its bas‐relief decoration was found in a secondary position, reused through time. The object is clearly a facing stone, originally part of an Umm an‐Nar period tomb, and was subsequently repeatedly reused for making new engravings. While working out the sequence of images it became clear that the very first image was a pair of human figures. This artwork is associated to grave architecture and therefore dates to the Umm an‐Nar period. Two models of interpretation can be suggested, the image of a human pair or the image of a supplicant and deity. Changes in the original meaning of the image indicate conceptual changes in subsequent periods, most probably alterations in the underlying social structure. The importance of the Qutainah stone is not solely due to rare monumental human figurative expression of the period in Oman; furthermore, the find spot in the Adam region is at a distance from the central location of Umm an‐Nar culture that has so far emerged.     

THE ‘LORD OF THE STONEMASONS’: PART I. THE ‘SWORD DEITY’ AT PETRA

Abstract

During the 2000 Season of the Brown University excavations of the so-called Great Temple at Petra, an elusive rock-cut figure (termed the ‘Sword Deity’) was discovered in the southern perimeter wall. Since then, the current authors have identified other such figures as belonging to this previously unknown type, which has similarities with the Greek herm. Based on a contextual analysis of these figures, it is proposed that the type may depict a protective deity or ‘lord’ of the Nabataean stonemasons, most likely Dushara. According to this interpretation, the stonemasons sought divine protection during their work by carving the image of the deity high in the rock faces. This paper sheds new light not only on the representation of Nabataean deities, but also on the role of religion in the daily life of the inhabitants of Petra and their relationship with the natural environment.     

善堂——中国、新加坡和马来西亚的慈善寺堂

论文分析了中国慈善组织产生和发展的历史背景;简述了潮汕地区、新加坡和马来西亚三地善堂的基本情况以及善堂的跨国往来及其对潮汕地区的影响,同时描述了地方精英、尤其是商人,为推动善堂在中国及东南亚发展所做出的贡献。认为处在不同政治环境中的善堂都能以各自独特的方式求得平稳运行。宗教性质增强了这些善堂的适应能力,而在需要强调其非迷信性质的时候,布善乐施的传统也有助于确立其世俗和慈善的形象。     

麦积山石窟"伏羲女娲"图像辨析

麦积山石窟169、69窟间浮塑交龙装饰龛楣图像,长期被一些研究者误读为“伏羲女娲”,并与天水作为“伏羲女娲”故乡的人文背景相联系。本文在详细考察洞窟图像的基础上,结合佛教经典与文献的相关记载,并参照国内其它石窟的龙装饰图像的情况,指出交龙龛饰的石窟造型图像是佛教中“天龙八部”之一的护持佛法的龙众,是佛国世界的守护神。麦积山石窟交龙龛饰图像与中国传统文化中的“伏羲女娲”无关。     

Why does the god have a cup in his hand?

Abstract

In my analysis of the Ahiram Sarcophagus I focus on the figurative expression in connection with the sitting deity at one side of the sarcophagus. The drinking vessel in the hand of the deity is an expression belonging to the sphere of the cultic. It is very likely that the deity's holding the drinking vessel should be interpreted as a religious epithet. Without necessarily being tautological the expression could mean the deity is divine. Apparently, however, this phrase gets a more profound meaning when the drinking vessel is seen in the cultic context. The more so as the figure with the drinking vessel carries the meaning of a ritual act. One question could be why is a drinking vessel divine? It appears that information about the liquid sacrifice in the Hebrew Bible and its surrounding cultural world, especially the Anatolian, can contribute to answering this question. Recalling a hidden motive, the comparative ritualistic approach makes possible a better‐informed interpretation of the sarcophagus.     

Hien's shed: (re)framing images of female immigrant home-based clothing workers

Campaigns in support of home-based clothing workers (or ‘outworkers’ as they are more commonly known in Australia) deploy powerful images of the exploitative underside of fashion. The migrant woman huddled over her machine has become the quintessential image of campaigns directed against this exploitation. This article engages critically with the politics of such image-making. By examining how frames simultaneously shrink and magnify the image produced it raises questions about what these images exclude or expel and whether and how this matters. It also offers an alternative frame of the female immigrant outworker – an up-close portrait of Hien, a Vietnamese woman who works at home sewing clothes in her suburban shed. The article introduces Hien through a condensed collection of her self-narratives, before moving on to consider how a trade union and community-based movement against outworker exploitation mobilised images of suffering and injured Vietnamese women to promote its cause. It asks how these images speak for and represent women like Hien and suggests that their political ‘success’ relies to some extent on the women being ‘unseen’ and made to ‘unspeak’. Finally, through the metaphor of space, it proffers an expanded dimension to the already framed images invoking Hien's shed as a space that both produces and disciplines her: ultimately, a ‘transitional space’ between the external and internal worlds that shape and constrain her.     

喀斯特洞穴书法景观的分类统计与洞穴旅游发展——以广西桂林市为例

书法景观是近期人文地理中出现的新的研究领域,以洞穴石刻为主体的洞穴书法景观的研究目前尚非常缺乏。本文通过对桂林市域1659个历史石刻的分类统计,首先梳理了洞穴石刻,同时结合洞穴石刻总数分析评价了旅游洞穴的吸引度。其次,划分了石刻的形式类型和内容类型,进而归纳为6大类旅游相关类型-亦即景点建设、粗放旅游、深层体验、群体旅游、景点历史、民俗,并进行了洞穴石刻相应的分类统计,分析了不同朝代洞穴旅游的兴衰状况和结构变化特征。     

“玄奘画像”解读——特别关注其密教图像元素

西安兴教寺所存玄奘石刻像与日本现存无名氏画玄奘像,所携带的历史信息超出了图像本身。作者认为,这一源于早期行脚僧图像的出现,是由于玄奘西行求法的成功,刺激了社会民众对行脚僧的认同,加之西来传法僧的大量涌现,于是在唐末、尤其是在宋代,出现了一批行脚僧图像,并由初时的胡僧梵相,变为汉僧模样,进而附会到玄奘的图像创作上。而在日本所存著名的"玄奘画像",事实上可能是一个具密教性质的僧人图像。作者试图通过有关这一图像的文献解读,全面分析该图像所包含的历史信息。