藝文.逸志 - 河北之旅7: 邯鄲北響堂山石窟 Art.Culture - Hebei Tour 7: Northern Xiangtangshan Grottoes of Handan

今次河北之旅，我們以邯鄲為首站主要為到訪歷史及藝術價值與敦煌莫高窟、龍門石窟與及雲岡石窟不遑多讓的響堂山石窟參觀。可惜這座佛教藝術寶庫千多年來受盡劫難，特別是清末民初中國處於混亂時期，大量佛像尤其是頭部被鑿走販賣至國外，導致現時石窟內所見佛像絕大部份失去頭部，情況令人目不忍睹。

響堂山石窟，又稱響堂寺石窟，位於河北省邯鄲市峰峰礦區鼓山，是研究佛教、建築、雕刻、美術、書法的寶庫。響堂山石窟因在山洞里擊掌甩袖，都能發出洪亮的回聲，故名“響堂”。 響堂山是中國佛教石刻經文的發源地之一。北齊時期的唐邕曾在此大規模鐫刻《維摩詰經》等佛經，開創了在石壁上刻經的先河。

響堂山石窟集中地體現了北齊時期的佛教造像藝術，其雕刻風格上承北魏的樸實粗獷，下啟隋唐的豐滿華麗，形成了獨特的過渡期風格。造像面相豐圓、體型敦厚、衣紋簡潔，給人以莊嚴而神聖的感覺。雖然石窟已嚴重受損，但從現存遺蹟可見當年雕刻工藝精湛，色彩華麗堂煌，同時可知佛教傳播鼎盛和信眾之多。

東魏武定初年，北響堂山石窟始鑿。北齊武平初年（543年—570年），北響堂山石窟建成。北齊天統元年至北齊末年（565年—576年），南響堂山石窟開窟。此後隋、唐、宋、元、明歷代均有修繕、續鑿，逐漸形成了北響堂石窟九窟，南響堂石窟十二窟，水浴寺石窟二窟的格局。

北響堂山石窟位於礦區和村東，北鼓山西腰，現存石窟9座，大小佛像72尊，其中南、中、北三大窟為北齊王朝開鑿。三窟中以位於窟群北端的大佛洞規模最大，裝飾最華麗。該窟進深11.8米，寬13米，高11.4米，置塔形柱三面開鑿一大龕，正面龕內一佛兩菩薩，正尊坐佛連座通高5米，佛背光浮雕塑火焰忍冬紋，七條火龍穿插期間，生動活潑。塔柱上窟壁共鑿26個列龕，列龕由弓形楣梁、垂幔、龕柱、覆缽等組成，雕刻細致，缽頂雕塑華麗的大型火焰寶珠，窟的整體佈局，裝飾，顯示北齊時期的高超雕刻藝術。

來源:百度百科及其他網上資料

背景音樂: 梵文大悲咒
Background music: Sanskrit Great Compassion Mantra

Our trip to Hebei began in Handan, primarily to visit the Xiangtangshan Grottoes, a site whose historical and artistic value rivals that of the Dunhuang Mogao Grottoes, Longmen Grottoes, and Yungang Grottoes. Unfortunately, this treasure trove of Buddhist art has suffered countless calamities over the past millennium, especially during the chaotic late Qing Dynasty and early Republic of China period. A large number of Buddha statues, particularly their heads, were chiseled off and sold abroad, resulting in the vast majority of the Buddha statues currently visible in the grottoes being headless—a truly heartbreaking sight.

The Xiangtangshan Grottoes, also known as the Xiangtang Temple Grottoes, are located in Gushan, Fengfeng Mining District, Handan City, Hebei Province. They are a treasure trove for the study of Buddhism, architecture, sculpture, fine arts, and calligraphy. The grottoes are named "Xiangtang" because clapping and flicking one's sleeves inside produce a loud echo. Xiangtangshan is one of the birthplaces of Chinese Buddhist stone-carved scriptures. During the Northern Qi Dynasty, Tang Yong carved Buddhist scriptures such as the Vimalakirti Sutra on a large scale here, pioneering the carving of scriptures on stone walls.

The Xiangtangshan Grottoes most comprehensively embody the Buddhist sculptural art of the Northern Qi Dynasty. Their carving style inherited the simple and rugged style of the Northern Wei Dynasty and paved the way for the full and ornate style of the Sui and Tang Dynasties, forming a unique transitional style. The statues have round faces, robust figures, and simple drapery, giving a solemn and sacred feeling. Although the grottoes are severely damaged, the existing remains reveal the exquisite carving techniques and magnificent colors of the time, as well as the flourishing of Buddhism and the large number of believers.

The Northern Xiangtangshan Grottoes were first carved in the early years of the Eastern Wei Dynasty's Wuding era. They were completed in the early years of the Northern Qi Dynasty's Wuping era (543-570). The Southern Xiangtangshan Grottoes were opened from the first year of the Northern Qi Dynasty's Tiantong era to the end of the Northern Qi Dynasty (565-576). Subsequent dynasties, including the Sui, Tang, Song, Yuan, and Ming, repaired and continued to carve the grottoes, gradually forming a layout of nine caves in the Northern Xiangtangshan Grottoes, twelve caves in the Southern Xiangtangshan Grottoes, and two caves in the Shuiyusi Grottoes.

The Northern Xiangtangshan Grottoes are located east of the mining area and village, on the western slope of Beigushan Mountain. Nine grottoes remain, containing 72 Buddhist statues of varying sizes. The southern, central, and northern grottoes were carved during the Northern Qi Dynasty. Among the three, the Great Buddha Cave at the northern end of the complex is the largest and most ornately decorated. This cave is 11.8 meters deep, 13 meters wide, and 11.4 meters high. A large niche is carved on three sides of a pagoda-shaped pillar. The front niche contains one Buddha and two Bodhisattvas. The seated Buddha, including its base, is 5 meters high. The halo behind the Buddha is decorated with a relief of flames and honeysuckle patterns, interspersed with seven lively fire dragons. The cave walls above the pillar contain 26 rows of niches, each composed of arched lintels, draperies, pillars, and inverted bowls, all meticulously carved. The bowls are topped with ornate large flaming jewels. The overall layout and decoration of the grottoes showcase the superb sculptural art of the Northern Qi period.

Source: Baidu Encyclopedia and other online materials