山東青州龍興寺遺址出土窖藏佛教造像賞析 Buddhist Sculptures from Longxing Temple in Qingzhou

李柏華 Li Baihua

中國的長江、黃河流域和印度的印度河、恒河流域，同屬世界古代文明的發源地。中印文化異地共生、交相輝映，同為人類文化的瑰寶，共同譜寫了人類歷史絢麗多彩的篇章。

China’s Yangtze River and Yellow Riverbasins， along with India’s Indus River andGanges River basins， are both cradles of ancientcivilizations. The coexistence and interaction ofChinese and Indian cultures， both consideredtreasures of human civilization， have contributedto a vibrant and diverse chapter in human history.

印度是中國的近鄰，與中國有著深厚悠久的友誼。中國引進并吸收了以佛教為標志的印度文化，使之成為中國文化的重要組成部分，在社會的不同領域與各個層次都留下了深刻的烙印。直到今天，印度藝術，特別是佛教藝術的犍陀羅與笈多式佛像，對中國的文化藝術仍產生著重大影響。

India， as a neighboring nation， shares a deepand longstanding friendship with China. Chinahas warmly embraced Indian culture， notablyBuddhism， which has become an integral partof the Chinese heritage and left a lasting impactacross various facets of society. Even today，Indian art， especially Buddhist sculptures in theGandhara and Gupta styles， continues to wieldsignificant influence on Chinese cultural andartistic expressions.

中國，古稱“九州”；青州為九州之一。明代以前，青州一直是山東的政治和文化中心。青州歷史悠久，佛教文化盛行，除龍興寺遺址出土的窖藏精美佛教造像外，還有云門山石窟和陀山石窟等造像遺存，聞名遐邇。

China， historically referred to as the “NineProvinces，” included Qingzhou as one of itsprovinces. Qingzhou served as a political and cultural center in Shandong prior to the MingDynasty. With its rich history， it stood as a thrivinghub of Buddhist culture. Apart from the Buddhistartifacts unearthed from the Longxing Temple， onecan also find exquisite Buddhist statues from YunmenMountain Grottoes and Tuoshan Grottoes， whichhave gained recognition far and wide.

1996年10月，在益都師范學校整平操場過程中，施工人員無意中發現了一些造像殘塊，就此開始搶救性挖掘。這一地塊是歷史上著名的佛教寺院——龍興寺的遺址，發現的這處大型佛教造像窖藏，東西長8.7米，南北寬6.8米，偏東部有一南北向斜坡道直達窖底。造像在窖藏內分三層排列，沿壁有部分立像。

In October 1996， as construction workersleveled the sports field at Yidu Normal School， theystumbled upon some statue fragments. This discoveryprompted an urgent archaeological excavation，revealing the historical site of Longxing Temple，a Buddhist temple of historic renown. The largeBuddhist statue pit unearthed measures 8.7 metersin length from east to west and 6.8 meters in widthfrom north to south. An inclined pathway in theeastern section leads directly to the bottom of the pit.The statues within the pitare arranged in three tiers，with freestanding statuespositioned along the walls.

出土的造像主要為漢白玉、花崗巖、石灰石等石造像，另有一些陶造像、鐵造像、泥塑像和木質像，其雕刻手法多樣，有平雕、透雕、圓雕、高浮雕等，各種技法都極為精湛。這批造像的年代跨越北魏至北宋500多年，經搶救清理出各類造像約400尊（多為南北朝時的造像），以大件造像為主，最大的達到3.2米高，為北魏時期所造。

The unearthed sculptures are predominantlycrafted from white jade， granite， and limestone，though pottery， iron， clay， and wood are also used.They showcase a wide range of carving techniques，including flat relief， openwork carving， roundcarving， and high relief， all executed with remarkableskills. These sculptures span over 500 years， datingfrom the Northern Wei to the Northern Song， witharound 400 statues from the Northern and SouthernDynasties unearthed through systematic excavation.The collection primarily consists of larger sculptures，with the tallest one reaching a height of 3.2 meters，originating from the Northern Wei Dynasty.

經有序發掘和科學保護，青州造像原有的鮮艷彩繪和貼金都被很好地保存下來，因此一經出土，即以光彩奪目備受人們推崇?，F介紹精品如下，以饗（xiǎng）讀者。

Thanks to well-organized excavation and properpreservation， all these sculptures in Qingzhouhave retained their vibrant colors and gilding.Consequently， upon their discovery， they immediatelygarnered widespread admiration. Here are some ofthese exquisite masterpieces for your appreciation.

北魏永安二年（529年）韓小華造彌勒像，高55厘米、寬51厘米、厚10厘米，石灰石質，一鋪三身像。主尊身形矮短，頭頂磨光高肉髻，面相圓潤，臉含微笑；外著褒衣博帶式袈裟，內著僧祇支，胸前結帶，下著長裙，略顯厚重；雙手施無畏、與愿印。二脅侍面相、表情與主尊相同；均著紅色長裙，裙擺外侈（chǐ）；左手提桃形物，右手向上執蓮蕾。三尊像頭光均為雙重蓮瓣，主尊在蓮瓣外增加了同心圓和忍冬花環。背光外出現日、月二神，呈現典型的北魏晚期山東地區的造像風格。

In the second year of the Yong’an reign （529 AD） of the Northern WeiDynasty， an artist named Han Xiaohua created a statue of Maitreya. This statue is55 centimeters tall， 51 centimeters wide， and 10 centimeters thick， crafted fromlimestone， comprising three figures. The central figure， representing Maitreya， isof a shorter stature with a polished high topknot on the head. The face featuresa round shape with a gentle smile. Maitreya wears a broad-waisted Kasaya robeas the outer garment and monastic robes as the inner attire. A belt is fastened aroundthe chest， and a long skirt adds to the slightly heavier appearance. Maitreya’s hands arepositioned in the fearless mudra and the mudra of granting wishes. Flanking Maitreya aretwo attendant figures who share similar facial expressions and features. They are attiredin long red skirts with hems flaring outwards. In their left hands， peach-shaped objectsare held， while lotus buds grasped in their right hands. All three figures wear double lotuspetals on their heads， and the central figure， Maitreya， additionally sports a concentriccircle and a wreath of honeysuckle flowers surrounding the lotus petals. Behind them， ahalo depicts the sun and moon deities， showcasing the distinct sculptural style of the lateNorthern Wei in the Shandong region.

東魏貼金彩繪佛菩薩三尊像，通高3.1米，為高浮雕三尊像。主尊螺發肉髻，上施寶藍色，杏眼長目，面部表情祥和；著雙領下垂式袈裟，上飾彩繪田相紋，胸前露出結帶；飾頭光和身光。左脅侍頭戴寶冠，身著天衣，佩項圈，腹部結蝴蝶狀飾物。右脅侍上身殘。這是龍興寺出土窖藏中最大的造像。

A gilded and painted statue depicting three Buddhas fromthe Eastern Wei Dynasty stands at a height of 3.1 meters and ismade in high relief. The central figure has coiled hair in a topknot，which is painted in a beautiful sapphire blue color. The faceexhibits almond-shaped， elongated eyes， and a tranquil expression.Draped in a double-layered hanging-style Kasaya robe， the figureis embellished with delicately painted lotus patterns. A knotted beltgraces the chest area， and ornate halos surround the head and body.To the left， an attendant is adorned with a crown， a celestial robe， anecklace， and a butterfly-shaped ornament adorning the abdomen.On the right， the upper body of the attendant is regrettablyincomplete. Notably， this statue stands as the largest among thosediscovered in the excavated pit at the Longxing Temple.

東魏天平三年（536年）尼智明造像，高83厘米、寬66厘米、厚9.5厘米，石灰石質，高浮雕三尊像。主尊波發高髻，面相清瘦，面呈微笑；身披褒衣博帶式袈裟。二脅侍頭戴寶冠，臉含微笑，身著南朝婦女常穿的紅色交領大袖衫，飾紅色披帛。左脅侍手執蓮蕾和桃形物，右脅侍執凈瓶和蓮蕾。三像均跣（xiǎn）足立于覆蓮座上。背屏上飾淺浮雕火焰紋和化佛，側面彩繪僧尼像四身。與韓小華造像相比，這尊造像體態更為修長，服飾輕薄貼體，身體輪廓隱約可見，屬于北魏晚期向東魏過渡時的造像風格。

This is a statue crafted by Ni Zhiming in the third year （536 AD） of theTianping reign of the Eastern Wei Dynasty. It stands at 83 centimeters inheight， 66 centimeters in width， and 9.5 centimeters in thickness. Made oflimestone with high relief， this statue portrays three figures. The central figureis distinguished by an intricate high topknot， a subtle smile on a lean face， andis attired in a robe with a broad belt-style Kasaya. The two flanking figures bothwear jeweled crowns and gentle smiles and are dressed in red collar-crossingwide-sleeved robes， a style commonly worn by women in the SouthernDynasty and is complemented by red silk scarves. The left figure holds a lotus bud and apeach-shaped object， while the right figure carries a purification jar and a lotus bud. Allthree figures stand barefoot on lotus pedestals. The back panel is adorned with shallow reliefflame patterns and transforming Buddhas， while the side panels feature painted depictionsof four monk and nun figures. In contrast to the statue created by Han Xiaohua， this onehas more slender proportions， featuring lightweight and closely fitting attire that highlightsbody contours. It exemplifies the transitional style of statues from the late Northern Wei tothe Eastern Wei.

北齊貼金彩繪盧舍那法界人中像，通高1.5米，為圓雕立像。佛像著通肩袈裟，袈裟上的田相內用紅、綠、黃、黑等各色勾線填彩，描繪了許多佛經里的內容。其中，佛像胸部右側的五身胡人形象尤為清晰。這些胡人深目高鼻，滿臉胡須；著窄袖長袍、尖頭皮靴。

This displays a gilded and painted Lochana Buddhastatue from the Northern Qi Dynasty. This round carvedstatue stands at a height of 1.5 meters. The Buddha isadorned in a Kasaya draped over both shoulders. TheKasaya itself is embellished with a variety of colors，including red， green， yellow， and black， depictingnumerous details from Buddhist scriptures. Notably，on the right side of the Buddha’s chest， five humanfigures stand out. Unlike Chinese people， they possessdistinctive features of deep-set eyes， prominent noses，and full beards. They are dressed in narrow-sleeved longrobes and pointed leather boots.

北魏晚期—東魏貼金彩繪石雕菩薩立像，高2米。菩薩面如滿月，眉弓彎曲，鼻梁挺秀，雙眼瞇合，櫻桃小口，神態愉悅文靜，給人以端莊親切感。造像體態勻稱，身形修長；黑發順肩而下；頭戴貼金寶冠，寶繒（zēng）下垂至肩；雙肩飾有兩個貼金圓形飾物。

This is a 2-meter-tall stone Buddha statue fromthe late Northern Wei to the Eastern Wei period.The Buddha’s face has the gentle roundness of afull moon， featuring delicately arched eyebrows， arefined nose， slightly narrowed eyes， a small cherrylikemouth， and a serene and joyful expression thatradiates dignified warmth. The sculpture presentsa harmonious and elegant posture， with a slenderphysique， long flowing black hair draping over theshoulders， and a gilded crown gracing the head，while gilded silk drapery hangs gracefully down tothe shoulders. Both shoulders are adorned with twocircular gilded ornaments.

北齊貼金彩繪石雕佛立像， 通高1.5米。佛頂螺發，肉髻微凸，面相長圓，神態沉靜。面、手、足部都有貼金。

This displays a standing Buddha statue fromthe Northern Qi Dynasty. This gilded and paintedstone-carved statue stands at a height of 1.5 meters.The Buddha is adorned with a distinctive crowncharacterized by spiral hair， a slightly raised topknot，an elongated face， and a tranquil expression. Its face，hands， and feet are meticulously applied with gold leaf.

北齊—隋貼金彩繪石雕菩薩立像，通高1.65米。菩薩面目秀麗，雙目微垂，表情慈祥；頭戴透雕花蔓高冠，長發垂至雙肩；上著對襟衣，佩項圈。造像裝飾華麗，給人以華貴、高雅的視覺印象。

This gilded and painted stone Buddha Statue，dating from the Northern Qi to the Sui， standsat a height of 1.65 meters. The Buddha possessesa graceful countenance with gently lowered eyesand a benevolent expression. A finely carved floralcrown adorns the head， while long hair falls overboth shoulders. Draped in a lapel-collared robeand adorned with a necklace， the statue featureslavish embellishments， exuding an air of opulenceand elegance.

北齊貼金彩繪思惟菩薩像，高90厘米，為圓雕坐像。菩薩頭飾花冠，寶繒垂肩；袒上身，頸佩項圈，下著紅色長裙。造像半跏趺（jiāfū）坐于束腰藤座，屈肘上抬，雙目微合，作思惟狀。

This gilded and painted Buddha statue， dating from theNorthern Qi Dynasty， is a seated round carving that standsat 90 centimeters tall. The Buddha is crowned with intricatefloral decorations and adorned with silk draped over theshoulders. The upper body is bare， adorned with a necklace，and the figure is clad in a long red skirt. The statue is craftedin a half-cross-legged seated position， resting on a woven mat.The elbows are gently raised， and the eyes gaze downward，conveying a contemplative expression.

從以上出土造像可以看出：青州佛教造像雕刻精湛，彩繪鮮艷，貼金保存完好。它對佛教史、藝術史的貢獻是不言而喻的；它使世人重新認識了中國古代精美的雕塑藝術，以及青州佛教文化圈在我國佛教文化中的特殊地位。

The statues described above provide clear evidence of the exquisitecraftsmanship， vibrant painted details， and remarkably preservedgilding of Qingzhou’s Buddhist sculptures. Their significance in theBuddhist history and Buddhist art is undeniable， as they reintroducethe world to China’s ancient and intricate sculptural art. Furthermore，these sculptures underscore the distinctive role played by Qingzhou’sBuddhist culture within China’s broader Buddhist heritage.

供圖/ 李柏華