“芥子纳须弥”云冈石窟艺术特展日前在台湾佛光山佛陀纪念馆开展。此次特展是由国家文物局指导，中华文物交流协会与佛光山文教基金会主办，云冈研究院与佛光山佛陀纪念馆承办，Studio10新媒体数字艺术团队参与负责数字内容的创作与技术方案支持。此展是云冈研究院首次在中国台湾地区举办的文化艺术展览。展览以云冈石窟艺术为主题，全方位展示云冈石窟的历史背景、艺术风格，让观众直观地感受中华优秀传统文化的魅力。

“A World in a Seed: Yungang Grottoes Art Exhibition”recently opened at the Fo Guang Shan Buddha Museum in Taiwan. Guided by the National Cultural Heritage Administration, the exhibition is co-hosted by the China Cultural Relics Exchange Association and the Fo Guang Shan Education Foundation, organized by the Yungang Research Institute and the Fo Guang Shan Buddha Museum, with Studio10 New Media Digital Art Team responsible for creating the digital content and implementing technical solutions. This marks the first cultural and artistic exhibition by the Yungang Research Institute in Taiwan. The exhibition, centered on the art of the Yungang Grottoes, comprehensively showcases the historical background and artistic styles of the grottoes, allowing visitors to directly experience the charm of China's outstanding traditional culture.

本次展览特别呈现的数字沉浸演绎，以云冈石窟第三十八窟为创作蓝本，通过数字艺术的方式构建跨越时空的艺术场域，探寻石窟深处的历史回响。虚实交织间，传统文化的精髓鲜活再现，我们得以与那横亘千年的历史对话，感受超越时间的宁静，触摸古老石窟中流转千年的禅意与智慧。

This exhibition features a specially presented digital immersive interpretation, inspired by the Yungang Grottoes' Cave 38. Using digital art, it creates a transcendent artistic space that bridges time and space, delving into the historical echoes deep within the grottoes. Through the interplay of reality and virtuality, the essence of traditional culture is vividly brought to life. It allows us to converse with history that spans millennia, experience timeless serenity, and touch the flowing Zen spirit and wisdom preserved within the ancient grottoes for thousands of years.

云冈石窟第38窟位于西部窟群西段，高于地面约2米。洞窟呈方形，东西宽1.98米，南北进深1.45米，上下高1.82米，设计严谨，雕刻题材丰富，造型优美，龛饰华丽，且保存较好，堪称云冈第三期石窟的代表性洞窟。

Cave 38 of the Yungang Grottoes is located in the western section of the western cave cluster, approximately 2 meters above ground level. The cave has a square layout, measuring 1.98 meters in width (east to west), 1.45 meters in depth (north to south), and 1.82 meters in height. Its design is meticulous, featuring a rich variety of sculptural themes, exquisite forms, and ornate decorations, all of which are relatively well-preserved. It is regarded as a representative cave of the third phase of Yungang Grottoes' construction.

公元494年，孝文帝迁都洛阳，云冈石窟大规模的开凿活动基本停止，民间工程开启，工匠利用平城（今大同）旧有的娴熟技艺开凿了大量的中小型洞窟。第38、39窟为代表的西岩绝唱,代表了云冈西部诸窟雕刻艺术的最高水平。

In 494 AD, Emperor Xiaowen relocated the capital to Luoyang, marking the end of large-scale excavation activities at the Yungang Grottoes. Subsequently, civilian projects began, with craftsmen utilizing the refined techniques developed in Pingcheng (present-day Datong) to carve numerous medium and small-sized caves. Represented by Caves 38 and 39, the masterpieces of the western cliffs exemplify the pinnacle of sculptural art among the western caves of Yungang.

云冈石窟这些故事雕刻内容，包含古印度地域的气息，带着西来僧侣的风尘，闪烁着拓跋鲜卑王朝的荣光，通过单幅式、长卷式或对称式等艺术表现形式，构成一幅幅神祇与俗众、男人与女人、动物与植物、前生与后世的故事画面。

The narrative carvings of the Yungang Grottoes embody the essence of ancient Indian culture, carrying the traces of Western monks’ travels and reflecting the splendor of the Tuoba Xianbei dynasty. Through artistic forms such as single-frame compositions, scroll-like depictions, or symmetrical arrangements, these carvings depict vivid story scenes of deities and mortals, men and women, animals and plants, as well as past and future lives.

《吴氏忠伟为亡息冠军将军华口侯吴天恩造像并窟》（今称《吴天恩造像记》）为北魏孝文帝太和十九年（495年），系吴忠伟为亡子吴天恩荐福所造。吴天恩，封从二品散后爵位，是三品冠军将军。这是云冈目前所见官职最高的造像题记。

The inscription "Commissioned by Wu Zhongwei in memory of his deceased son, Wu Tian'en, Champion General and Marquis of Huakou" dates back to the 19th year of the Taihe era of Emperor Xiaowen of the Northern Wei Dynasty (495 AD). It was created by Wu Zhongwei to offer blessings for his late son, Wu Tian'en, who held a noble title equivalent to the second rank and served as a third-rank Champion General. This represents the highest-ranking official inscription currently found in the Yungang Grottoes.

中心饰一圆莲，内刻莲花化生童子，外围雕一圈御龙仙人。莲之东侧是手托日月、乘孔雀的天人；西侧为手持细杖、骑乘大象的天人。周围十方格内各有一对伎乐天，或舞或乐，融为一体，具有流动回旋之美，使整个洞窟充满了动感与生机。

At the center, there is a circular lotus, with a child emerging from the lotus blossom carved inside. Surrounding this is a circle of celestial beings riding dragons. To the east of the lotus is a heavenly being holding the sun and moon, riding a peacock; to the west is a heavenly being holding a slender staff, riding an elephant. Around them, in each of the ten surrounding squares, there is a pair of musical and dancing celestial beings. Whether dancing or playing music, they blend seamlessly, creating a sense of flow and rotation, which fills the entire cave with vitality and dynamic energy.

历经时光流转，却始终在静谧中承载着文化的长久生命。云冈石窟作为历史与文化的见证者，其艺术风貌和精神内涵随着岁月的推移不断演化，既呈现出历史的更替，也传递着亘古不变的智慧与美学。

Through the passage of time, Yungang Grottoes stand in quietude, steadfastly preserving the enduring essence of culture. As witnesses to history and heritage, their artistic forms and spiritual essence have evolved with the flow of ages, reflecting the cycles of history while conveying timeless wisdom and beauty.