佛教人物画作为一种外来艺术品引进中国,带着浓郁的西域风格,在佛教的繁荣兴盛中成长并发展成熟,经过历朝历代不同的艺术文化和审美风格的浸润,逐渐与中国本土文化相结合,完成了其民族化的演变,形成了具有中国特色的佛教人物画。明清时期的佛教人物画,虽然已经达不到魏晋南北朝空前繁荣及隋唐时期的气势恢宏,也不能与同时期占据画坛主导地位的花鸟、山水画相媲美,但可以说, Buddhism figure painting is introduced into China as a foreign artwork, with a rich style of the Western Regions, grew up and matured in the prosperity and prosperity of Buddhism. Through the infiltration of different artistic cultures and aesthetic styles of different dynasties, Buddhism figure gradually merged with Chinese native culture , Completed the evolution of its nationalization, formed a Buddhist figure with Chinese characteristics. Buddhist figure paintings in the Ming and Qing Dynasties have not reached the unprecedented prosperity in the Wei, Jin and Southern and Northern Dynasties and the magnificent momentum in the Sui and Tang dynasties, nor can they compare favorably with the flowers and birds and landscape paintings which dominates the painting circles in the same period. However,