【国内文旅卷】世界文化遗产之大足石刻（中英双语）
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“大足地区的险峻山崖上保存着绝无仅有的系列石刻，时间跨度从9世纪到13世纪。这些石刻以其艺术品质极高、题材丰富多变而闻名遐迩，从世俗到宗教，鲜明地反映了中国这一时期的日常社会生活，并充分证明了这一时期佛教、道教和儒家思想的和谐相处局面。”以上是1999年联合国教科文组织将大足石刻列入世界文化遗产时对其作出的评价。
大足石刻位于重庆大足县境内，是其所有表现摩崖造像的石窟艺术的总称。全县现存石窟共计75处，造像5万余尊，铭文10万多字，以北山、宝顶山、南山、石篆山与石门山石刻最具特色与声誉。这些石刻开凿于唐永徽元年（公元650年），历经唐末、五代，盛行于两宋，成为中国晚期石窟的代表作品。大足石刻以鲜明的世俗化将西来的佛教艺术与中国传统文化相融合，运用了大量生活化的场景与极富想象力的画面，使之成为中国佛教石窟艺术的最后一座丰碑，也成就了大足成为当之无愧的“石刻之乡”。
北山石刻位于大足县城北1.5公里处的北山，由唐末昌州刺史、昌普渝合四州都指挥韦君唐景福元年（公元892年）开凿。中间经地方官吏、乡绅、士庶、僧尼等相继参与建造，至南宋绍兴末年，方具如今规模。石刻以北山佛湾为中心，依岩而建，长达一里有余，有摩崖造像近万尊。其中以观音造像最为有名，不仅数量众多，造型各异，雕刻精巧，极具特色，北山也因此被誉为“中国观音造像陈列馆”。
宝顶山石刻位于大足县城东北15公里处，由南宋名僧赵智凤主持开凿于南宋淳熙年间（公元1174年），历经70余年，完成于南宋淳佑年间（公元1252年）。宝顶山石刻以大佛湾为主体，造像近万尊，集中国石窟艺术之大成，成为一处保存完好的大型佛教密宗道场。宝顶山石刻将佛教的基本教义与中国儒家伦理与道教学说融为一体，以图文并茂的方式显示佛经内容与故事，显示出宋代佛学思想的博采兼收的特性。石刻生活气息浓郁，且展现出独特的西南蜀地特色，彻底完成了石窟艺术从印度异域风情向的中国本土化演变的进程。宝顶山千手观音多达1007只手，造像崖面达88平方米，是世界最大的千手观音像；宝顶山半身卧佛长达31米，右肩与半身陷于地表之下，双脚隐没于崖壁之中，以有限的画面表现出无限的艺术形象，是世界上最大的卧佛。
【全文翻译】
“The steep hillsides of the Dazu area contain an exceptional series of rock carvings dating from the 9th to the 13th century. They are remarkable for their high aesthetic quality, rich diversity of subject matter, from secular to religious, and they shed light on daily social life in China during this period. They provide outstanding evidence of the harmonious synthesis of Buddhism, Taoism, and Confucianism.” This is the assessment made by UNESCO regarding the Dazu Rock Carvings when it was added to the list of World Cultural Heritage Sites in 1999.
The term “Dazu Rock Carvings” refers to the grotto art presented by all the cliff-side carvings in Dazu County of Chongqing. There are a total of 75 sites of grottoes composed of more than 50,000 statues with 100,000 Chinese characters of inscriptions and epigraphs. Among them, the rock carvings in Beishan, Baodingshan, Nanshan, Shizhuanshan, and Shimenshan Mountains are the most distinctive and famous. Built continuously from the first year of the reign of Emperor Yonghui of the Tang Dynasty (AD 650) through the end of the Tang Dynasty to the period of Five Dynasties, the Dazu Stone Carvings became especially popular during the Song Dynasty. It is the representative works of late grotto arts in China. Showing distinctive features of the secularization of religion, the Dazu Rock Carvings integrated the western Buddhist art with Chinese traditional culture by creating a large number of scenes about ordinary life and pictures with superb imagination. It becomes the last monument of Buddhist grotto art in China and Dazu County really well deserves the title of the “Land of Rock Carvings.”
Beishan Rock Carvings are located at Beishan Mountain 1.5 kilometers north of Dazu County. The project began in the first year of the reign of Emperor Jingfu (AD 892) under the instructions of Wei Junjing, the prefectural governor of Changzhou and general commander of Changzhou, Puzhou, Yuzhou, and Hezhou, in the late Tang Dynasty. Later, local magistrates, squires, ordinary people, monks, and nuns successively participated in the construction work. It had reached its current scale in the last year of the reign of Shaoxing in the Southern Song Dynasty. Taking Fowan (Buddha Bay) on the Beishan Mountain as the center, the rock carvings on the cliff cover more than five hundred meters with nearly 10,000 Buddhist statues. The statues of Avalokitasvara with exquisite carving techniques and distinctive features on the cliff, which are not only large in number but also diversified in gestures, are the most famous. Therefore, Beishan Mountain is also reputed as the “Museum of Avalokitasvara Statues in China.”
Baodingshan Rock Carvings are 15 kilometers northeast of Dazu County. The project was initiated in the first year of the reign of Emperor Chunxi (AD 1174) by Zhao Zhifeng, an eminent monk at that time, and completed after over a period of 70 years during the reign of Emperor Chunyou (AD 1252) in the Southern Song Dynasty. The major part of the Baodingshan Rock Carvings is at Da Fowan (Large Buddha Bay). As a well-preserved large scale Tantric Buddhism rite with nearly 10,000 statues, it displays the essence of grotto art in China. Integrating the basic doctrine of Buddhism with Confucianism and Taoism in China, the Baodingshan Rock Carvings present the contents and stories in Buddhist scriptures in both images and written records, which demonstrate the inclusiveness of Buddhism thoughts in the Song Dynasty. Thoroughly completing the process of the evolution of grotto art from the exotic India style to local features in China, the rock carvings successfully present daily life as well as the unique regional features of Southwest China. As the largest statue of Thousand-hand Avalokitasvara Bodhisattva around the world, the one in Baodingshan Mountain has as many as 'one thousand and seven hands’ and covers an area of 88 square meters on the cliff. The 31-meter-long bust of a reclining Buddha in Baodingshan Mountain is also the largest of its kind in the world. With the right shoulder and the lower part under the surface of the ground and the feet hidden in the cliff, the statue shows an unbounded artistic image even with the limited visual portion.