四川宋代石刻菩萨像宝冠造型分析

内容摘要：本稿以实地调查与学界披露的相关资料为基础，比较详细地分析了四川宋代石刻菩萨像宝冠造型，存在卷草纹与牡丹纹两类宝冠，北宋晚期至南宋晚期获得长足发展。卷草纹宝冠上承唐、五代传统，在吸收宋代世俗卷草纹因素后继续发展。牡丹纹宝冠为菩萨像造型的创举，是宋人酷爱牡丹及牡丹栽培中心南移四川的产物。北宋晚期至南宋早期，这两类宝冠的造型灵活多变，尤其绍兴年间（1131-1162）彰显新时代创造力。南宋中晚期，这两类宝冠的造型繁缛细密达到极致。四川宋代石刻菩萨像宝冠造型演化，深刻地反映了佛教艺术民俗化、地域化的过程。

关键词：四川宋代菩萨像；卷草纹宝冠；牡丹纹宝冠

中图分类号：K877.49 文献标识码：A 文章编号：1000-4106（2014）02-0040-13

An Analysis of the Coronet Modeling of the Song Dynasty Stone Bodhisattvas in Sichuan

QI Qingyuan

（Academy of Art & Design， Tsinghua University， Beijing 100084）

Abstract： 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： coronets 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.

Keywords： Song dynasty bodhisattvas in Sichuan； Coronet with coiled floral designs； Coronet with peony design

四川（含重庆）系宋代两大佛教石刻造像发达区域之一，其菩萨像的发展规模远超佛像，以胁侍形式表现者数量众多，作为主尊表现者也不少，且形体庞大者亦多，菩萨一跃成为佛教造像的重心。四川宋代石刻菩萨像比较密集地分布在大足、安岳两县（图1），邻近的合川、江津两县也有零星分布。北宋早中期实例稀少，北宋晚期至南宋晚期为实质性发展阶段，自11世纪80年代至13世纪40年代前后，造像活动长达160年。

四川宋代石刻菩萨像的调查研究是伴随整体佛教造像进行的。以往，学界在对各地区石窟及摩崖造像进行总录编纂、概论叙述及分期断代考察过程中，也曾涉及相关的菩萨像信息[1-4]。但是，就菩萨像造型而言，迄今尚无专论，学界还无从了解四川宋代石刻菩萨像的发展脉络和规律。……