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大足石刻艺术在蓉展出期间,由四川省社会科学院、四川省文物管理委员会,大足石刻艺术博物馆共同发起,于1985年11月28日至29日在成都召开了大足石窟艺术座谈会。以下仅就座谈会讨论的几个问题,简述于次; 一、大足石窟在中国石窟史上的地位与会代表一致认为,大足石窟不仅与云冈、龙门“鼎足而三”,而且开创了中国石窟史的一个新阶段,成为中国晚期石窟的代表,其特点是;(1)造象数量多(五万余躯);(2)造象时期晚(晚唐开创);(3)造象时间长(从晚唐下至明清);(4)造像保护完整;(5)雕刻精美;(6)内容丰富(佛、道,佛道合龛、儒佛道合一等)。此外,大足石窟填补了宗教史、雕刻史的空白,是石窟艺术民族化、地方化、世俗化的典范。大足石窟是我国文化艺术宝藏之一,我们不仅应当肯定它在中国石窟史上的地位,而且还可以通过比较研究,确立它在世界艺术史上的地位。
Dazu rock carving art exhibition in Chengdu, by the Sichuan Provincial Academy of Social Sciences, Sichuan Provincial Cultural Relics Management Committee, Dazu Rock Carved Museum of Art jointly launched in November 28, 1985 to 29 in Chengdu held a large foot grotto art forum. The following discussion on the forum will discuss only a few issues, briefly described in the second; First, the status of Dazu Caves in the history of Chinese grottoes and delegates agreed that Dazu Caves not only with Yungang, gantry “tripartite”, but also created a Chinese grotto A new stage of history, as a representative of China late Caves, which is characterized by: (1) the number of images (more than 50,000); (2) late imagery (late Tang dynasty); (3) (From the late Tang to Ming and Qing dynasties); (4) complete protection of statues; (5) exquisite carvings; (6) rich content (Buddhist, Taoist and Buddhist niches, Confucianism, Buddhism and Taoism, etc.) In addition, Dazu Grottoes filled the gap between religious history and carving history, which is a model of nationalization, localization and secularization of grotto art. Dazu Grottoes is one of the treasures of culture and art in our country. We should not only confirm its position in the history of Chinese grottoes, but also establish its position in the world art history through comparative study.