【摘要】 近年在安岳菩萨岩、菩萨湾和石锣沟摩崖造像中新发现的3铺地藏十王造像，内容、图式各不相同，是地藏十王图像发展序列的早期作品，开凿于10—11世纪中叶，出现诸多不见于四川地区同类造像的新要素和图式。四川摩崖造像，敦煌石窟壁画和藏经洞所出纸、绢、麻布画中的地藏十王图像均由成都传入，基本的内容要素和图式类型在其初始流行的阶段就已经固定。四川地区地藏十王造像图式类型更为丰富，而敦煌地区独立表现的地藏十王图像所据粉本相对统一。更多还原

【Abstract】 Three images of Ksitigabha and the Ten Kings were recently discovered among the cliff engravings at Pusayan,Pusawan and Shiluogou in Anyue. The images contain different contents and compositions but are all early visual works created from the 10^th to the middle of the 11^th century depicting Ksitigabha and the Ten Kings. What is more, these engravings exhibit new elements and compositional styles that are rarely seen in similar images from the Sichuan regions. Because the basic content and composition of Buddhist art thematically focused on Ksitigabha and the Ten Kings quickly became organized around a common standard, it can be concluded that the images from the cliff engravings in Sichuan and similar images in Dunhuang cave murals and in the paper, silk and hemp paintings found in the Dunhuang Library Cave all find a common origin in the Buddhist art of Chengdu.Versions of these artworks from Sichuan evince rich detail and relatively intricate composition, while images depicting the same theme that were separately rendered in Dunhuang and the surrounding regions were created based on a relatively unified draft.更多还原