四川北部东接汉中盆地,西连成都平原,北抵青藏高原东侧,南据嘉陵江上游,是中原北方与西南边疆交通往来的孔道,也是南、北方文化交融激荡最为剧烈的地区之一。7世纪上半叶,这一地区的广元、巴中、剑阁、梓潼、绵阳、阆中、茂县等地佛教摩崖造像数量陡增,出现了一批龛窟形制、造像风格相类的石刻。这批摩崖造像是川渝地区大规模、批量化石窟建造的开端,对理解石窟从北向南的地域传播及西南石窟传统的确立具有重要意义。本文拟在学术界现有刊布遗址的基础上,从遗址空间、造像内容及题记铭文三个方面,分析川北地区隋末唐初佛教摩崖造像的营建模式,并结合历史文献追索推动石窟勃兴的力量,揭示中原北方与川渝地区之间的交流互动。

Northern Sichuan is located adjacent to the Hanzhong Basin to the east, connects to the Chengdu Plain to the west, extends to the southeastern edge of the Qinghai-Tibet Plateau to the north, and encompasses the upper reaches of the Jialing River to the south. This region served as a crucial transportation corridor between the Central Plains in the north and the southwestern borderlands, making it a key area for cultural integration and interaction between northern and southern China. In the first half of the 7th century, Buddhist cliff sculptures surged in various locations, including Guangyuan, Bazhong, Jian'ge, Zitong, Mianyang, Langzhong, and Maoxian. These sculptures, which exhibit similar niche forms and artistic styles, mark the beginning of large-scale standardized grotto construction in the Sichuan-Chongqing region. Their significance lies in helping understand not only the north-to-south transregional dissemination of grottoes, but also the establishment of local tradition in the southwest. This article examines the construction models of Buddhist cliff sculptures in northern Sichuan from the late Sui to the early Tang Dynasty through spatial distribution, subject matter, and inscriptions. Drawing on existing research on sites announced to public and historical documents, it explores the forces that contributed to the flourishing of these grottoes and sheds light on the complex social and cultural interactions between the Central Plains and the Sichuan-Chongqing region.