A Study of Cave 136 at Beishan, Dazu

今日所謂「大足石刻」，是重慶市大足區的摩崖石刻群之總稱，其開龕造像始於唐，並於兩宋達到高峰，可謂中國佛教石窟發展晚期的代表石窟。北山佛灣轉輪經藏窟（編號第136窟）正是大足石窟全盛的南宋紹興年間所開鑿的洞窟。全窟造像精美，具紹興十二至十六年（1142-1147）的數則紀年題記，更有仿造宋代寺院轉輪經藏而成的中心柱，題材特殊，乃宋代大足石窟的經典作品，也是探討兩宋與四川佛教信仰的重要物證。不過，目前136窟的相關研究卻不多。本論文以136窟為中心，從歷史背景、窟內圖像與造像風格三方面切入討論，希望在全窟意涵的理解和窟內造像風格分析有所突破。 本論文說明了136窟乃由宋代大足平民家庭聯合當地官員所營造。全窟雖設計規整，但實以供養人對佛教的理解為依歸。136窟是以正壁釋迦牟尼佛為中心，搭配中心柱轉輪經藏，並連結二側脇侍的觀音、大勢至、文殊、普賢菩薩，再逐步向外構築包含複數觀音的側壁。此種組合方式顯示了宋代佛教融會諸宗的特點，也反映出供養人祈求現世利益、希望累積功德，且依據自身對佛教的理解組織全窟的情況。再者，由於目前幾無全面分析十至十二世紀中國佛教造像風格的相關研究，故本論文先整理此時期造像的主要特徵。以此為基礎，進一步檢視具有明確紀年的136窟造像，發現其既承續了北宋造像風格，也包含呈現當地造像特色的內容，在宋代和四川佛教美術都有指標性意義。The religious sculpture of Dazu area, dating from Tang to Song dynasty, has been increasingly recognized as a representative example of the late part of Chinese Buddhist cave art. This thesis focuses on one of the most important and beautiful caves of Dazu, cave 136 at Fowan site, Beishian, also known as the wheel repository Cave, dated by inscriptions to 1142 to 1148. With various images and a central pillar carved as a replicate of a large wooden bookcase, or Zunanlun Jingzang 轉輪經藏, a popular sutra repository in Song Buddhist temple, cave 136 is a significant example of both Song and Sichuan Buddhist culture. This thesis reveals how donors of cave 136, basing on their wishes and own understandings of Buddhism, combine the back wall, wheel repository central pillar and several Avalokiteśvara images on the side walls together. Also, this thesis analyzes the style of sculptures in cave 136, and sheds light on style of 10th to 12th century Chinese Buddhist sculpture