大同云冈第5、6窟图像构成分析

王友奎

内容摘要：云冈石窟第5窟造像大体存在统一规划。主体三世佛造像外，侧壁佛龛多为释迦佛、释迦多宝佛、弥勒菩萨等尊像的排列组合，这一组合源于第7、8窟主室北壁，在第二期洞窟中成为填充壁面空间的流行元素。第6窟中两种思想主题并存，其北壁下层龛内三佛像表述三世佛思想，而中心柱下层四面佛龛则以大乘成佛思想统摄周壁图像。与此相适应，上层15尊立佛像可能表述供养、值遇诸佛意涵。

关键词：云冈第5、6窟;造像思想;大乘成佛;《法华经》;弥勒信仰

中图分类号：K879.22  文献标识码：A  文章编号：1000-4106（2019）03-0017-15

Abstract： Cave 5 at the Yungang Grottoes was created according to a generally integrated design. Apart from the central group of statues of Buddhas of the Past， Present， and Future， the Buddhist statues against the other walls are separated into groups respectively depicting Sakyamuni， Sakyamuni and Prabhutaratna， or Maitreya. These combinations of statues were originally a motif used in caves 7 and 8（placed against the north wall in the main chamber of both cave）， and which became a popular theme used to cover the wall surfaces of Buddhist caves. In cave 6， the images of two sets of Buddhist ideas co-exist： the three Buddhist statues in the lower niche on the north wall represent the Buddhas of the Three Times， while those in the lower niches on the four sides of the central pillar embody the Buddhist thought of obtaining Buddhahood through devout belief in Mahayana dharma. This second theme integrates the ideas of 15 Buddhist caricatures surrounding the interior of the cave that represent reverential offering to， and subsequent communion with the Buddhas.

Keywords： Caves 5 and 6 of the Yungang Grottoes; motif; Buddhist concept of obtaining Buddhahood through devout belief in Mahayana dharma; Lotus Sūtra; belief in Maitrya

大同云岡第5、6窟位于武州山中央崖面东部，开凿于云冈二期后段{1}[1-6]。其中第5窟为平面近椭圆形、穹窿顶的大像窟，第6窟为方形平面的中心柱窟（图1）。两窟外壁残存三座大小相同、形制相近的高浮雕塔柱，分别位于两窟之间及东西两端（图2）。水野清一、长广敏雄先生认为第5、6窟规模大体相当，造像风格相近，且窟外雕刻一体设计的三座塔柱，因而是相互关联的一对洞窟[7][8]。

第5窟以往被视为未完工洞窟[2]，其图像构成问题多局限于对主体三佛像的讨论。第6窟装饰富丽、雕刻精巧，窟内保存的三十余铺佛传故事图像，是以往研究的重点[9-13]。关于其图像构成，李静杰先生通过分析洞窟中轴线上的图像组合，认为其反映了《法华经》奉持者将来往生弥勒净土的思想，同时强调了大乘佛法的重要性，该窟下层配置的系统佛传图像则是释迦佛为引导众生成佛的方便说法表现[14]。……