大同云冈石窟系中原北方开凿最早、规模最大的皇家石窟寺院，在佛教物质文化史上之地位举足轻重。本稿结合考古层位学、类型学与美术史图像学方法，在讨论洞窟营建过程的基础上，依次分析各期洞窟图像组合形式，进而揭示其所反映思想和信仰的发展变化情况。云冈第一期洞窟，包括第16—20窟即昙曜五窟。此五窟主体图像来源于犍陀罗三佛像组合，表述佛陀与佛法的过去、现在、未来三世传承思想。同时与北魏“皇帝即当今如来”观念融合，以昙曜五窟主尊对应太祖以下五帝，并通过各窟三世佛组合暗示皇位继承的合理性。解析昙曜五窟造像布局可知，其中还雕刻大量与主体图像一体设计的辅助龛像，主要有释迦多宝二佛并坐像等，集中体现了法华经倡导的大乘成佛思想和往生兜率天净土信仰。云冈第二期洞窟，包括第7、8双窟，第9、10双窟，第11—13组窟，第1、2双窟，第5、6双窟等，本稿讨论了迄无专论的后三组洞窟图像。第11—13窟造像可分为一体设计和非一体设计两种，第12窟主室南北壁中轴线上、前室东西壁图像，均为原初一体设计的释迦多宝佛、释迦佛与弥勒菩萨、弥勒佛组合，类似组合亦多见于第11、13窟中非一体设计的补刻龛像，表述奉持大乘佛法者将来往生兜率天净土的意涵，且与大乘成佛思想密切关联。第1、2双窟北壁主尊构成弥勒菩萨与释迦佛组合，二窟两侧壁龛有序排列组合释迦多宝佛、释迦佛、弥勒菩萨及弥勒佛像，仍然是奉持大佛法将来往生兜率天并成佛思想的体现，两窟南壁雕刻维摩诘经图像则用于强调大乘佛法的重要性。两窟中心柱图像融合第一期三世佛思想及第二期前段以来法华经思想、弥勒信仰，并以顶部须弥山图像突出表现弥勒上生信仰。第5窟造像大体在统一规划下完成，侧壁亦为释迦多宝佛、弥勒菩萨等尊像的排列组合，这些图像实际成为填充壁面空间的流行元素。第6窟北壁下层龛内三佛像表述的三世佛思想，以及中心柱下层四面龛像组合表述的大乘成佛思想和将来往生弥勒净土信仰，共同构成此窟主题，中心柱上层15尊立佛像可能为修行者将来值遇、供养诸佛。云冈第三期洞窟，包括第20窟以西诸窟，第5、6、11—13窟外壁窟龛，龙王沟西侧崖壁诸窟，以及第4、14、15、16-1等窟。这些洞窟均为中小型方形结构，龛像配置更多采用横向组合，愈加重视对称构图法则，可分为三壁三龛、侧壁双层单龛、三壁多层多龛等形式。尽管图像布局变化多端，第二期流行的法华经思想与弥勒信仰仍旧为主题思想。

The thought of statues is one of the core contents of the study of Buddhist grotto art, and the discussion on combinations of images with various themes is the primary way to analyze the ideological implication of grottoes. There is follow as well as innovation of image combination of the Yungang Grottoes in different phases, reflecting the inheritance and transformation of the thought of statues in different phases.The thought of statues of the five Tan Yao Caves, the first phase of the Yungang Grottoes, could be attributed to three levels. First of all, thought of Buddhas of Three Periods manifested in the main statues occupied the key status in the image composition of all caves. Secondly, the imperial ideology closely integrated with the thought of Buddhas of Three Periodswas the most important practical connotation of the five Tan Yao Caves. Thirdly, the thought of Saddharmapundarika Sutra, beliefs in The Sutra of Maitreya's Ascension and the Sutra on the Descent of Maitreya began to become an important part of the image thought of the caves. Specifically, the main statues of the five Tan Yao Caves adopted the image of three Buddhas from Gandhara, compared the main statue in each cave to the five emperors under Taizu, and arranged the location of caves according to the system of setting sacrificial date. Such design not only expressed the heritage of Buddha and Dharma through the statues of three Buddha, but also reflected the analogy relation between Buddha inheritance and the imperial succession. In addition to the main three Buddha statues, there were also a considerable number of auxiliary niches with the original design intent in the five Tan Yao Caves, such as the sitting statues of Sakya and Prabhutaratna in the 17th, 18th and 20th caves, and the group niche with the statue of seven Buddhas and Maitreya, as well as the sitting statues of Sakya and Prabhutaratna on the southern wall in the 17th cave. These auxiliary niches form a combination relation with the main statues, indicating that the thought of Saddharmapundarika Sutra and the beliefs in The Sutra of Maitreya's Ascension and the Sutra on the Descent of Maitreya had become an important content.Among the caves of the second phase of the Yungang Grottoes, the belief in the Buddhas of Three Periods associated with the imperial power gradually declined, and the thought of Saddharmapundarika Sutra occupy the dominant position among the caves. On the one hand, it stressed that the believers will go to the Tushita Pure Land where Maitreya lived after death; the other hand, it highlighted the importance of believing in Mahayana Dharma of Saddharmapundarika Sutra. The statues of the 11th- 13th caves of this phase could be divided into integrated design and non-integrated design. As for the former, such as in the 12th cave, the images on the axle wire of the east-west walls of the front room, and north-south walls of the main room were the combination of Sakya and Prabhutaratna, Sakya and Maitreya, Maitreya Buddha. As for the latter, such as the supplemented Buddhist niches in the 13th and 11th caves, in which the combination of "two Buddhas sitting together + sitting Buddha + Bodhisattva" was very popular. Similar image combination could also be found on the side walls of the 1st, 2nd and 5th caves, and lower part of the center pillar in the 6th cave, whose ideological connotation was also believing in Mahayana Dharma and going to the Tushita Pure Land, constituting an important part of Mahayana thought.The third phase of the Yungang Grottoes was all small and medium-sized square caves. In the aspect of niche configuration, horizontal composition was more used, more attention was paid to the law of symmetry, which could be divided into forms of three walls and three niches, double sidewalls and single niche, three walls and multiple niches and so on according to the layout of the statues. Although the layout was often changes, the images combining the thought of Saddharmapundarika Sutra and belief in Maitreya seen in the second phase were still the main composition elements, whose thought of statues inherited from the second phase.