唐东都洛阳佛教物质文化盛极一时，比较集中地分布在隋唐洛阳城及其南郊龙门石窟。本稿统合考察城市与石窟佛教物质文化情况，围绕洛阳城主轴线建筑、洛阳郭城皇家寺院、洛阳南郊龙门石窟造像，以及洛阳周围单体造像四方面内容，选择学界研究薄弱的代表性论题展开分析，在全面收集资料基础上，综合利用美术史与考古学方法，联系时代社会背景，理清各种佛教物质文化发展脉络与规律，进一步揭示其思想信仰与历史文化内涵。天枢、明堂、天堂等武则天时期洛阳城主轴线建筑，应分别具备须弥山、须弥山顶忉利天宫善法堂、兜率天宫象征意涵，组成须弥山世界景观。如此设计意在标示洛阳天下之中的地位，彰显武则天转轮圣王身份，从而强化武周政权合法性与神圣性。福先寺与敬爱寺作为唐洛阳城典型皇家寺院，承载着厚重的历史文化。本稿理清福先寺建筑、造像与佛事情况，阐明敬爱寺造像分布、分期、题材、组合及其反映思想。福先寺塔等建筑展现神龙政变后李唐与武周势力并存态势，形成鲜明的政治与文化景观。敬爱寺大殿壁画武则天真容，发挥神化武周政权作用，西禅院壁画华严经变，直接关联新译八十卷本华严经史事。弥勒佛、地藏菩萨像系龙门石窟唐代流行造像。本稿网罗式地收集了龙门唐代164龛弥勒佛像、189龛地藏菩萨像，系统梳理其造型、组合、反映思想及关联文化信息。弥勒佛像造型可以乾封年间为界分为两个发展阶段，复杂尊像组合形式反映多样化净土往生信仰。地藏菩萨像多表达一般化救济思想。龙门还雕刻较多庇佑行旅观音像，关联观音护佑行旅灵验事迹及隋唐洛阳城交通枢纽功能。美国哥伦比亚大学藏初唐造像碑、新郑卧佛寺旧藏初盛唐造像石幢，为洛阳周围珍稀单体造像。二者皆雕刻地藏菩萨化身图像，前者组合雕刻释迦佛涅槃像，表述地藏菩萨救济无佛时代众生意涵。后者组合雕刻多种净土佛像，原初可能榫接佛顶尊胜陀罗尼经幢，造像与刻经一致反映超脱轮回、往生净土思想。洛阳城武周主轴线建筑与唐代皇家寺院，显示佛教为政权所用的事实。洛阳南郊龙门石窟及周围唐代造像，多反映大众化的净土往生与救苦济难思想观念。这两个层面的内容共同构成洛阳唐代佛教物质文化的实质内涵。
Buddhist material culture flourished in Luoyang, the eastern capital of Tang Dynasty, and was relatively concentrated in Luoyang City and its southern suburbs Longmen Grottoes. This article comprehensively analyzes representative topics of Buddhist material culture in the city and the grottoes, such as the main axis buildings of Luoyang City and typical royal temples, popular statues in the Longmen Grottoes, and associated independent statues. On the basis of a comprehensive collection of materials, a comprehensive using the methods of art history and archaeology, combined with the social background of the times, we can clarify the development context of various Buddhist material cultures, and further reveal its ideological beliefs and historical connotations.Tianshu, Mingtang, and Tiantang, the main axis buildings of Luoyang City during the reign of Wu Zetian, should respectively symbolizes Mount Sumeru, the Shanfa Hall on the top of Mount Sumeru, and the Tusita Palace, forming Mount Sumeru World landscape. This design is intended to mark Luoyang‘s status as the center of the world and highlight Wu Zetian‘s status as the Cakravartin, thereby strengthening the legitimacy and sanctity of Wu Zhou‘s regime.Royal temples in Luoyang City such as Fuxian Temple and Jing‘ai Temple were closely related to the politics of the time and carried rich culture. This manuscript clarifies the architecture, statues and Buddhist practices of Fuxian Temple, and explains the distribution, staging, themes, combinations and religious meanings of the images in Jing‘ai Temple. The Fuxian Temple pagoda shows the coexistence of Li Tang and Wu Zhou forces after the Shenlong Coup, forming a distinct political and cultural landscape. The mural of Wu Zetian‘s appearance in the main hall of Jing‘ai Temple plays a role in deifying Wu Zhou‘s regime. The sutra illustration painting of Avatamsaka in Western Chan Hall is related to the historical events of the newly translated Avatamsaka Sutra.The Maitreya Buddha and Ksitigarbha Bodhisattva statues are popular in Longmen Grottoes in Tang Dynasty. This article comprehensively collects 164 Maitreya Buddha statues and 189 Ksitigarbha Bodhisattva statues in Longmen of Tang Dynasty, and systematically sorts out their shapes, combinations, religious meanings and related cultural information. The shape of Maitreya Buddha statues can be divided into two development stages by the year of 666-668. The complex combination of statues reflects the diverse beliefs of pure land rebirth. Ksitigarbha Bodhisattva statues are mostly used to express general relief thoughts. The Avalokitesvara statues for travelers in Longmen Grottoes have a long history and appreciable quantity. The miraculous deeds of Avalokitesvara‘s protection for pilgrims and travelers, as well as the frequent population movement in Luoyang, made it an important place for such statues to be concentrated in Longmen Grottoes.This article also focuses on independent statues around Luoyang. S4426 Buddhist stele dating back to early Tang dynasty collected at Columbia University in the City of New York, contains the informative Ksitigarbha statue and rare combination with Nirvana image. In the era without Buddha, Ksitigarbha manifests various incarnations, saving all beings in reincarnation. This should be the main idea of statue combination. The Tang octagonal stone pillar at the old collection of Wofo Temple in Xinzheng is highly decorated with relief sculptures depicting Ksitigarbha Bodhisattva with six reincarnations of sentient beings, Maitreya Buddha, Amitabha, Bhaisajyaguru and so on. The combination of these statues expresses the ideas of liberation from rebirth cycle, and reaching the Pure Land. The stone pillar was most likely to be used as a component of a Buddhist Usnisa Vijaya Dharani Sutra pillar. The sculptures and engraved sutra complement each other, providing dual protection for donors‘ spiritual benefits.The main axis buildings and royal temples in Luoyang City during Sui and Tang Dynasties show the fact that Buddhism was used by the political power. The statues in Longmen Grottoes and the surrounding areas mostly reflect the popular ideas of rebirth in the Pure Land and relief from suffering. These two levels of content together constitute the substantial connotation of Buddhist material culture in Tang Dynasty in Luoyang.
