大足宝顶山宋代石刻是别具特色的一处佛教造像场所,是在之前的石窟艺术的基础上与地方文化融合而演变发展形成的,是对中国古代艺术的继承与延续。在宋代社会政治背景的作用下,宝顶山石刻独特的以佛、儒、道三教结合的方式来表现宗教形象,并大量采用取材于普通布衣生活内容的连环画式的叙事性图解手段,以通俗化对其宗教意义的诠释,从而便于宗教经典的宣播。在现存遗迹中今人所能解读到的是,宗教形象被赋予了更多的市民阶层的视觉特征和思想意识,将老百姓身边熟悉的人和事几乎提升至与神同等的地位,世俗化、地方化的审美理想流露无疑,宗教法度和地位因历史的变革而发生的演变与衰落催生的却是无可争辩的民间艺术杰作。 Dazu Bao Ding Mountain Song Dynasty stone carving is a unique place for Buddhist statues. It was formed on the basis of the previous grotto art and evolved from the integration of local culture. It is an inheritance and extension of ancient Chinese art. Under the social and political background of Song Dynasty, Baoding Mountain stone carvings uniquely combines the Buddhism, Confucianism and Taoism to represent the religious image. It also makes extensive use of the comic pictorial narrative method drawn from ordinary commoner’s life content. Popularization of its religious significance of interpretation, so as to facilitate the religious classics broadcast. What people can interpret in the existing relics is that the religious image has been given more visual features and ideological consciousness of the citizen class, and people and things familiar to the ordinary people have been promoted to the same status as God. They are secularized, The localized aesthetic ideal is undoubtedly revealed. The evolution and decline of religious laws and status due to historical changes have given rise to indisputable folk art masterpieces.