西北,佛教的先入之地,沿古代丝绸之路一带修建有大量的佛教石窟,石窟中造像丰富,特别是佛教壁画形象生动,在造型上对于中国古代壁画从方法技巧上有一定的渊源关系以及传承,揭示了一定的佛教教意。陕西旬邑县赵家洞佛教石窟壁画即是该地区数以万计石窟中的一例。对壁画而言它在极强的艺术形态之中包涵着较深的宗教说教与审美性质,对受众而言是人们对宗教思想加以认识的体现,赵家洞壁画并非象敦煌、麦积山、克孜尔、新疆菱格等壁画那样声名远扬,但所绘壁画从造型手法到形象刻划都不亚于前几处的艺术水平。本文试从形成赵家洞壁画的人文环境上作初步的探讨。 Northwestern and Buddhist preconceived places, a large number of Buddhist caves are built along the ancient Silk Road. The statues in the grottoes are rich. In particular, the image of Buddhism murals is vivid. In terms of modeling, there are some origins of methodological skills in ancient Chinese murals and Inheritance, revealed a certain amount of Buddhist teaching. Zhao Xiandong Buddhism Grottoes at Xunyi County in Shaanxi Province are an example of the tens of thousands of grottoes in the area. For murals, it contains deep religious preaching and aesthetical qualities among the extremely strong artistic forms, and is an expression of people’s understanding of religious thought to the audience. Zhao Moutong’s murals are not like Dunhuang, Maijishan, Kizi Seoul, Xinjiang Ling and other murals so famous, but the murals from the modeling practices to the image of the sculptures are no less than the previous few artistic level. This article tries to make a tentative discussion on the humanistic environment of forming Zhao Miaodong’s murals.