##杭州飞来峰：江南文化宝库，汉藏艺术交融的缩影
**中新社杭州8月22日电**题：杭州飞来峰怎样成为江南文化宝库？
晚唐以后，中国的石窟、摩崖造像活动逐渐从中原北方地区向长江流域转移，浙江杭州西湖的飞来峰造像是长江中下游地区规模最大、开凿持续时间最长、保存相对较好的一处窟龛造像群。作为江南的石窟，飞来峰石窟艺术有何独特之处？飞来峰造像如何体现汉、藏、西夏、蒙古等多民族艺术的结合？为何说飞来峰造像是一座中外艺术交流的“博物馆”？浙江大学艺术与考古学院教授、汉藏佛教艺术研究中心主任谢继胜，杭州西湖风景名胜区灵隐管理处副主任邵群，近日接受中新社“东西问”专访，作出解读。
飞来峰造像位于浙江杭州的北高峰南麓，以冷泉溪与灵隐寺相隔，是中国现存规模最大的藏传佛教艺术遗址之一，也是中国石窟分布在南方地区的重要实例。飞来峰造像肇始于五代，经宋入元，终于明。据统计，飞来峰造像现存115龛，390余尊。其中，五代后周广顺元年（公元951年）的“西方三圣”是飞来峰现存纪年最早的石刻造像。
元代造像是飞来峰佛教造像中的主体和精髓部分，不仅数量最多，形制也巨大，部分造像题写有汉文、梵文经咒和赞语。据统计，现存元代造像67龛，116尊，其中46尊为藏传佛教风格造像，62尊为汉式风格造像，8尊为受藏传佛教风格影响的汉式造像。
元朝时期，元廷派西夏人杨琏真迦出任江淮诸路释教都总统，入驻南宋故都杭州，主持飞来峰凿龛造像。飞来峰造像融合了汉、藏、西夏、蒙古等多民族文化元素，体现了元代时期多元文化的交融。
谢继胜教授指出，与同一时期的萨迦寺、夏鲁寺以及此后的西藏地区藏传佛教艺术作品相比，飞来峰造像的典型藏式风格已出现较为明显的汉化倾向。大多数同类风格造像，除了在图像学上与西藏地区的同类造像保持一致外，造型上已出现与之相异的变化。飞来峰造像中，对明王、护法神的刻画，与西藏地区同类题材相比，整个形体，尤其是面部特征的处理已趋于平和。
杭州为六朝古都，不仅是南方汉族文化的中心，也是汉传佛教净土宗的中心之一，具有深厚的儒家、佛教文化土壤和悠久的佛教艺术传统。在形式和内容上，藏传佛教艺术进一步适应南方汉族文化及其审美倾向，有助于藏传佛教这一陌生的文化更易被当地接受。
以第76龛绿度母造像为例，虽然其完全按照藏传佛教仪轨造像，给人的感觉却没有东印度波罗王朝造像的韵味。该造像模仿水月观音，腿部抬起，身体重心落在臀部，艺术家细致地刻画了腰间因坐姿形成的肌肉线条，体现了汉传佛教造像的审美特征。
飞来峰造像不仅是汉藏艺术交融的缩影，也是一座中外艺术交流的“博物馆”。它融合了汉传佛教、藏传佛教、西夏艺术、蒙古艺术等多种文化元素，展现了中国古代多元文化交融的盛况，也为研究中国古代艺术史提供了宝贵的资料。
飞来峰造像作为江南文化宝库，其独特的艺术风格和历史文化价值，吸引着来自世界各地的游客和学者前来参观研究。它不仅是杭州西湖风景名胜区的重要组成部分，也是中国古代石窟艺术的珍贵遗产，为我们了解中国古代文化和艺术提供了重要的窗口。
英语如下：
##Feilai Peak in Hangzhou: Unveiling the Secrets of a Jiangnan CulturalTreasure Trove
**Keywords:** Feilai Peak, Jiangnan, treasure trove
**Content:**
## Feilai Peak in Hangzhou: A Jiangnan Cultural Treasure Trove, Reflecting the Intertwining of Han and Tibetan Art
**Hangzhou, August 22 (CNS)** – How did Feilai Peak become a Jiangnan cultural treasure trove?
After the late Tang Dynasty, the practice of creating stone caves and cliff carvings in China gradually shifted from the northern regions to the Yangtze River basin. The Feilai Peak carvings in Hangzhou, Zhejiang Province, represent the largest group of cave and niche carvings in the lowerreaches of the Yangtze River, boasting the longest period of continuous construction and relatively good preservation. As a Jiangnan stone cave, what makes the art of Feilai Peak unique? How do the carvings embody the fusion of Han, Tibetan,Xixia, and Mongolian artistic styles? Why is it said that the Feilai Peak carvings are a “museum” of Sino-foreign artistic exchange? Xie Jisheng, professor at the College of Art and Archaeology, Zhejiang University, and director of the Han-Tibetan Buddhist Art Research Center, and Shao Qun, deputy director of the Lingyin Administration Office of the West Lake Scenic Area in Hangzhou, recently accepted an interview with CNS’s “East and West Dialogue” to provide insights.
Located at the southern foot of Beigao Peak in Hangzhou, Zhejiang Province, separated from Lingyin Temple by Lengquan Creek,Feilai Peak carvings are one of the largest existing Tibetan Buddhist art sites in China, and a significant example of stone cave distribution in southern China. The carvings began in the Five Dynasties period, continued through the Song Dynasty, and ended in the Ming Dynasty. Statistics show that there are currently 115 niches andover 390 statues at Feilai Peak. Among them, the “Three Sages of the West” from the first year of Guangshun (951 AD) in the Later Zhou Dynasty is the earliest dated stone carving at Feilai Peak.
The Yuan Dynasty carvings are the main body and essenceof the Buddhist carvings at Feilai Peak. They are not only the most numerous but also the largest in size, with some carvings inscribed with Chinese, Sanskrit scriptures, and praises. Statistics show that there are currently 67 niches and 116 statues from the Yuan Dynasty, including 46 Tibetan Buddhist stylestatues, 62 Han style statues, and 8 Han style statues influenced by Tibetan Buddhist style.
During the Yuan Dynasty, Yang Lianzhenjia, a Xixia person, was appointed by the Yuan court as the Chief of Buddhist Affairs in the Jiang-Huai region. He resided in Hangzhou, theformer capital of the Southern Song Dynasty, and oversaw the carving of niches at Feilai Peak. The Feilai Peak carvings integrate cultural elements from Han, Tibetan, Xixia, and Mongolian ethnic groups, reflecting the fusion of diverse cultures during the Yuan Dynasty.
Professor Xie Jisheng pointed out that compared to theSakya Monastery, the Shar Monastery, and subsequent Tibetan Buddhist art works in the Tibet region during the same period, the typical Tibetan style of Feilai Peak carvings exhibits a more pronounced Sinicization tendency. Most statues of similar styles, apart from maintaining consistency with Tibetan statues in iconography, have undergone changes in their overallshape, particularly in facial features. In the Feilai Peak carvings, the depiction of Ming Kings and Dharma Protectors, compared to similar subjects in the Tibet region, has become more peaceful in their overall form, especially in the treatment of facial features.
Hangzhou, as an ancient capital of the Six Dynasties,is not only the center of Han culture in the south but also one of the centers of Pure Land Buddhism, with a deep foundation of Confucian and Buddhist culture and a long tradition of Buddhist art. In form and content, Tibetan Buddhist art further adapts to Southern Han culture and its aesthetic preferences, making it easier for this unfamiliarculture to be accepted by the locals.
Take the Green Tara statue in Niche 76 as an example. Although it is entirely sculpted according to Tibetan Buddhist rituals, it does not have the flavor of the Pala Dynasty statues from East India. This statue imitates the Water Moon Guanyin, with one leg raisedand the body’s center of gravity resting on the hips. The artist meticulously carved the muscle lines formed by the sitting posture around the waist, reflecting the aesthetic characteristics of Han Buddhist statues.
The Feilai Peak carvings are not only a reflection of the fusion of Han and Tibetan art but also a “museum” ofSino-foreign artistic exchange. They integrate elements from Han Buddhism, Tibetan Buddhism, Xixia art, and Mongolian art, showcasing the flourishing of cultural fusion in ancient China and providing valuable materials for the study of ancient Chinese art history.
As a Jiangnan cultural treasure trove, the unique artistic style and historical and culturalvalue of the Feilai Peak carvings attract visitors and scholars from all over the world to visit and study. It is not only an important part of the West Lake Scenic Area in Hangzhou but also a precious legacy of ancient Chinese stone cave art, providing an important window for us to understand ancient Chinese culture and art.
【来源】http://www.chinanews.com/gn/2024/08-22/10273190.shtml
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