本文通过对西藏西部皮央和东嘎佛寺、石窟寺的研究,认为其年代应为12世纪晚期。窟顶彩绘曼荼罗图案构图受到了中亚石窟寺窟顶构图的影响,其演变过程是从彩绘华盖的题材到曼荼罗状的华盖,再到曼荼罗的窟顶。东嘎遗址中以泥塑结合彩绘壁画装饰石窟的做法以及泥塑的塑造和构图模式,也具有中亚佛教石窟寺的特征。同时,本文还讨论了敦煌和榆林地区受到西藏影响的石窟寺的壁画和窟顶装饰的艺术特色与表现形式。东嘎石窟营建于12世纪晚期,是古格都城从托林向东嘎迁移的时期,也正是该地区转入噶举派主导的短暂时期。所以,噶举派艺术及其赞助人与东嘎石窟的营建之间有着密切的联系。 Based on the studies of Piyang, Donggar Buddhist temples and cave temples in western Tibet, this paper argues that the period should be the late 12th century. Cave top painted mandala pattern composition by the Central Asia cave temple top composition of the impact of the evolution of the theme is from the painting Canopy to the mandala-like canopy, to the top of the cave of the mandala. Donggar site in the clay sculpture combined with painted murals decorative caves practices and clay modeling and composition patterns, but also with the characteristics of Buddhist temples in Central Asia. At the same time, this article also discusses the murals and cave decoration of Dunhuang and Yulin areas affected by Tibetans. The Donggar Grottoes was built in the late 12th century as a period of relocation of the ancient capital city from Tolin to Donggar. It is also the short period when the area was transformed into a Kagyu-led school. Therefore, there is a close relationship between the Kagyupa art and its sponsors and the construction of Donggar Grottoes.