公元6—11世纪处于佛教中国化的关键时期,也是中国佛教建筑研究的重要阶段。本文以敦煌莫高窟的石窟形制、经变壁画以及主尊塑像等艺术遗存为直接研究对象来讨论公元6—11世纪佛寺院落的空间布局特征,结合汉地佛寺遗迹及有关历史文献,重点关注佛寺院落的殿阁配置、空间关系与空间组合3方面。首先对敦煌莫高窟的时空意义及其所反映的礼佛空间进行分析,基于佛教中国化的发展历程与研究对象艺术分期的对应关系,以及敦煌佛教与中原佛教的紧密关联,明确本文研究的时间范围主要对应敦煌艺术分期的隋代至归义军时期(公元581—1036年)。在此基础上,参考佛教艺术学相关领域的研究方法,确定了对石窟形制、经变壁画以及主尊塑像进行整体研究的视角。然后,基于占绝大多数的佛殿型窟与“一正两厢”式院落空间的对应关系,对隋代至归义军时期莫高窟相关内容进行全面爬梳与整理,并结合莫高窟佛教图像特征的总结与辨析,从主尊塑像的姿态入手,讨论不同主尊佛的各种绘塑组合可能体现的信仰主题,进而对其反映出的佛寺院落主题及相应殿阁的可能配伍组合情况加以分析论证,明确了其中的对应关系和历史联系。接下来,对以净土变相为主的莫高窟经变壁画从信仰基础和图像特征2个方面进行梳理,在此基础上,讨论石窟形制与经变壁画所直接或间接反映的佛寺院落可能出现的3种主要殿阁布局模式及其发展历程,并且分别总结出主辅单体组群型、廊连接组群型和复合型组群这3种主要殿阁布局模式的各子类型的空间特征及其相互演变关联。最后,讨论莫高窟自身作为大型石窟寺遗迹,其中可能反映有佛寺院落的空间组合关系。分析有关佛寺院落组合的可能性,从纵向空间序列和横向轴线组合两方面,尝试讨论佛寺院落的扩展方式。还通过具体石窟实例研究,对石窟内部空间与绘塑组合的整体性进行了深入探讨,进一步印证石窟空间在整体上是基于对应佛寺布局的功能关系和义理逻辑两方面的统筹考量。 During the crucial period of sinicization of Buddhism from the 6th to the 6th century AD, it is also an important stage in the study of Chinese Buddhist architecture. This paper discusses the spatial distribution characteristics of Buddhist temples from 6th to 11th century AD with the artistic remnants of the grottoes, the altered murals and the statue of the main statue of the Mogao Grottoes in Dunhuang as a direct object of study. Combining the relics of the Han Buddhism temples and the related historical documents, Temple of the Temple House fell off the configuration, spatial relations and spatial combination of 3 aspects. Based on the analysis of the spatial and temporal significance of Mogao Grottoes in Dunhuang and the ceremony space reflected in it, based on the correspondence between the course of development of Chinese Buddhism and the stage of art of study, as well as the close relationship between Dunhuang Buddhism and Central Plains Buddhism, The range mainly corresponds to Dunhuang art stage of the Sui Dynasty to the era of the Yi Army (AD 581-1036). On this basis, with reference to the research methods in related fields of Buddhist art, this paper determined the overall research perspectives on the grottoes, murals and the main statues. Then, based on the correspondence between the vast majority of Buddhist temple caves and the “one-two-two” courtyard space, the related content of Mogao Grottoes during the Sui Dynasty to the Guiyi Army was comprehensively inspected and collated, The summary and analysis of the Buddhist image features of the caves, starting with the gesture of the main statue, discusses the theme of belief that may be embodied by the various painting and plastic combinations of the different Lord Buddha, and then reflects the theme of the temple and the corresponding compatibility of the temple Combination of analysis and demonstration of the situation, a clear one of the correspondence and history of contact. Next, combing the fable murals of Mogao Grottoes based on the pure land disguise from the two aspects of the belief base and the image features, on the basis of which, it is possible to discuss the temple monastery reflected directly or indirectly by the grotto formation and the fable murals Three major temple layout pattern and its development process, and summed up the main and auxiliary monomer group type, the corridor connection group type and the complex group of three main layout pattern of each sub-type space characteristics And their mutual evolution. Finally, the discussion of the Mogao Grottoes itself as a monumental site for large cave temples may reflect the spatial combination of Buddhist temples. This paper analyzes the possibility of the combination of temples and monasteries and attempts to discuss the extension of the temples of monasteries from the longitudinal spatial sequence and horizontal axis combination. Through the concrete case study of grottoes, the integrity of grottoes’ interior space and the combination of painting and plastic are further discussed, which further confirms that the grotto space is based on the overall consideration of the functional relationship and the logic of righteousness corresponding to the layout of the Buddhist temple.