云南石窟随着佛教的传入而蓬勃兴起 ,以剑川石钟山石窟沙登箐区第一号阿弥陀佛像方座正面为证 ,云南石窟摩崖造像最早应出现在南诏丰佑时代 ,它开创于中晚唐 ,绵延于明清。其雕刻手法大致有五种 :一是以高浮雕作为整体造型的基本手法 ,而细部和衣纹皱折则用阴线刻 ;二是主尊佛像采用高浮雕 ,而二胁侍则采用浅浮雕手法 ;三是纯粹采用薄肉雕 ,辅之以阴线刻 ;四是采用减地平钅及或剔地起突的浮雕手法 ;五是纯粹采用阴线刻。采用圆雕者极少。过去 ,由于对云南石窟与摩崖造像研究和宣传不够 ,致使在中国石窟艺术史上没有给予它应有的地位。因此 ,有必要进行系统、完整、深入的研究 ,让这块滇文化瑰宝重放光华 With the introduction of Buddhism, Yunnan caves flourished. Taking the first Amitabha statue as the center of the statue in the Shanduanwan area of ​​Jianshuang Grottoes of Jianchuan, evidences were taken that the Cliff Caves of Yunnan Grottoes should first appear in the era of Nanzhao Feng You. In the late Tang Dynasty, stretching in the Ming and Qing dynasties. The carving techniques are roughly five kinds: First, the high relief as a whole shape of the basic techniques, and details and wrinkles wrinkles are engraved with Yin Xian; the second is the Lord Buddha statues with high relief, and two threatened to use bas-relief techniques ; Third is the pure use of thin carving, supplemented by Yin Xian carved; fourth is to reduce the level of 钅 and or ticking relief embossed technique; fifth is the pure use of Yin Xian carved. Very few round sculptures. In the past, due to insufficient research and propaganda on the grottoes and cliff statues in Yunnan, they were not given due status in the history of Chinese grotto art. Therefore, it is necessary to conduct a systematic, complete and in-depth study so that this piece of Yunnan cultural treasures replay Guanghua