【正文】 t year of Tang 6th(650), through the Five Dynasties period, pared to the 10971138, remnants until Ming and Qing, China advanced stone works of Rock Carvings in Chongqing Municipality is Dazu County Cliff main performance figures of the grotto art published for the heritage conservation units Cliff figures up to 75, more than 50,000 body statue, inscriptions 10 million , in the northern mountains, Grotto Mountain, Nanshan, Stone Fragrance Hill, Cliff Shimenshan most prevalent Rock Carvings on December 1, 1999 by the UNESCO as a cultural heritage on the World Heritage stone statues in Beishan Cliff Dazu County, Longgang Town of km and Tang drilled in the first year of King Fuk Shaoxing 31 years to the Southern Song Dynasty(8921162), through numbered 290, figures of 10,000, with carving delicate, exquisite, elegant known to Songyilian display of the late Tang Chinese folk belief and Buddhist grotto art style of the development and change, Hailed as the Tang and Song stone art Late Tang sculptures graceful fullness, temperament knew ends finer go about in bodyfitted with Tang particular resolution 245 AmitayurBuddhist disguised as rich, structured, engraved with the figure Category 539, all kinds of shapes more than 460 pieces, preserving the image of the various grotto in similar subjects were leading Dynasties works Beishan figures for the third over this period is the most prevalent, have an important role in the characteristics are small and exquisite, the posture changes, looked relaxed and patterns bee increasingly prosperous Korea, showing by the transition Yuerlian to Songyilian Tang Southern Song Dynasty statues most prominent, known as “the Chinese Goddess of Mercy taken at the museum.”During this period more work to the life, embodies the aesthetic appeal of the Song have distinct personalities, body beautiful, mellifluous, wearing gorgeous most representative is by the runner possession Cave, has been regarded as the “Chinese grotto art crown of a pearl.”Trip Ideas Cliff stone sculptures in Dazu county northeast 15 km and Chi Buddhist monk from the Song Dynasty in the Southern Song Feng Chienchun years(11741252), which lasted more than 70 to the Big Buddha, the Buddha39。s sperm and is rich in content, the Dazu stone carvings are said to be a great art is the Chinese grotto art important ponent of the Year 9 is the end of the 13th century to the middle of the world39。位于重慶市大足縣境內(nèi)。距重慶市區(qū)83公里。與敦煌齊名的大足石刻始創(chuàng)于初唐，歷經(jīng)唐末、五代，盛極于兩宋，集儒、釋、道“三教”造型之大成。他將中國(guó)石窟藝術(shù)史向后續(xù)寫(xiě)了近400年，是中國(guó)晚期石窟藝術(shù)杰出的代表、中國(guó)傳統(tǒng)文化與外來(lái)佛教文化完美結(jié)合的典范。其中，以北山、寶頂山、南山、石篆山、石門(mén)山摩崖造像為代表，其中以寶頂山和北山石刻最為著名。觀音造像眾多，極富特色，被譽(yù)為“中國(guó)觀音造像陳列館”，其中的道數(shù)珠手觀音、水月觀音、玉印觀音等最為著名。他們頭頂崖檐，腳踏蓮臺(tái)，皆重額廣眉，悲憫豁達(dá)，給人以熟悉、親切之感。他頭上的 “金剛頂儀”，為佛教密宗金剛界造像的一個(gè)重要特征。按造像儀軌，這龕造像應(yīng)是文殊在左，普賢在右，但此地卻把他們的位置作了調(diào)換，從而來(lái)體現(xiàn)密教造像特有的儀軌，——“理智攝入”，即：理性與智慧高度融和。為使手臂不斷落，匠師們成功運(yùn)用了建筑力學(xué)原理，大刀闊斧地刻出寬袖袈裟披肩掛肋飄逸而下，與其身軀相連，巧妙地將重心引到了主像身上。這樣的處理既合符力學(xué)原理，又不違背菩薩褒衣博帶、寬袍大袖的造像規(guī)律，同時(shí)還獲得了宗教的莊嚴(yán)感。匠師們刻意將他們的頭部加大，胸部縮短，小腳部位加長(zhǎng)，而且身軀前傾二十五度，正好符合造像與觀眾之間的透視關(guān)系，使人仰首觀望時(shí)，感覺(jué)菩薩好像正親切地俯下身來(lái)，關(guān)注大千世界的蕓蕓眾生一般，叫人凡心皆息，祗敬皈命之誠(chéng)油然而生。華嚴(yán)三圣像背壁刻了八十一尊圓龕小佛，它們既豐富了整龕造像的構(gòu)圖層次，又把三尊主像襯托得高大、完善，使整龕造像的氣氛顯得莊