陕西北部北宋、金代石窟分布在以延安为中心的陕北高原,涉及至少13个市、县的近50个地点,北宋晚期至金代早期为基本发展期。石窟结构以各种类型佛坛窟为主体,大、中、小规格俱全。石窟图像绝大多数来源于唐、五代时期,可以分为主流、非主流两大类。图像组合以“三佛”(释迦佛、弥勒佛、阿弥陀佛)为主尊者居多,周围配置文殊与普贤菩萨、十六罗汉、涅槃与五百罗汉、水月观自在菩萨、千佛、万菩萨中的一种或几种图像,这些主流图像连同其他非主流图像共同构成石窟图像。各种不同功能的图像,采用叠加方式组织在同一石窟之中,同时表述多种佛教思想,形成显著区域和时代特征。所反映的往生净土、传承佛法、菩萨行、倡导孝行、现世救济思想,构成陕北宋金石窟的实质内涵。 Northern Shaanxi Northern Song Dynasty, the Jin Dynasty Grottoes in Yanan as the center of the distribution of the northern Shaanxi Plateau, involving at least 13 cities and counties in nearly 50 locations, from the Northern Song Dynasty to the early Jin Dynasty as the basic period of development. Grottoes in various types of Buddhist altars as the main structure, large, medium and small specifications. The vast majority of grottoes images from the Tang Dynasty, Five Dynasties period, can be divided into mainstream, non-mainstream two categories. The image combination is mainly of Venerable Buddha (Sakyamuni Buddha, Maitreya Buddha and Amitabha Buddha), surrounded by Manjusri with Samantabhadra, Sixteen Arhat, Nirvana and Five hundred Arhats, Buddha, Buddha in one or several images, these mainstream images together with other non-mainstream images constitute a grotto image. Various images of different functions are arranged in the same grotto by the way of superposition, meanwhile, various Buddhist thoughts are formulated to form distinctive regional and historical features. Reflected in the Pure Land, heritage Buddhism, Bodhisattva, advocate filial piety, the world relief thought, constitutes the essence of the Northern Song Dynasty caves.