CAJ | 학술논문

北魏汉化改制带给佛教美术的影响，除人物形象（“秀骨清像”）和衣冠制度（“褒衣博带”）外，还表现为对山水场景的偏好以及空间再现技艺的渐趋成熟，因此是一次内在的“视觉方式”的转变；敦煌西魏壁画呈现出表现空间进深的初步尝试。共有三个工匠集团参与第285窟绘制：西壁由第一工匠集团完成，图像内容和画风具有强烈的西域风；第二工匠集团绘制东壁及北壁，尽管人物造型和服饰都采用汉化样式，但匠师未能理解中原画稿表现空间进深感的意图；绘制南壁的工匠集团真正掌握了再现三维场景的技巧。北周第290、296窟壁画与西魏第285窟南壁运用了相同的粉本，很可能出自同一工匠集团（或有传承关系的工匠集团）之手。
북위한화개제대급불교미술적영향，제인물형상（“수골청상”）화의관제도（“포의박대”）외，환표현위대산수장경적편호이급공간재현기예적점추성숙，인차시일차내재적“시각방식”적전변；돈황서위벽화정현출표현공간진심적초보상시。공유삼개공장집단삼여제285굴회제：서벽유제일공장집단완성，도상내용화화풍구유강렬적서역풍；제이공장집단회제동벽급북벽，진관인물조형화복식도채용한화양식，단장사미능리해중원화고표현공간진심감적의도；회제남벽적공장집단진정장악료재현삼유장경적기교。북주제290、296굴벽화여서위제285굴남벽운용료상동적분본，흔가능출자동일공장집단（혹유전승관계적공장집단）지수。
The effect of sinicization during the Northern Wei dynasty ( 386-557) on Buddhist Art can be seen in the characters’ appearances, costumes and chapeaux as well as on the preference for landscape scenes and growing spatial representation skills, which can be regarded as an internally visual transition. Dunhuang murals during the Western Wei dynasty show an initial attempt to represent depth in space. Three groups of artisans participated in creating the murals of Mogao Cave 285. One group painted the west wall, which shows an obvious influence from the west both in content and style;the second group painted the north and east walls, which fails to represent depth of space, though the characters and dresses are of Chinese style; and the third group painted the south wall, which exhibits a mature technique of representing three-dimensional scenes. The drafts of caves 290 and 296 from the Northern Zhou dynasty (557-581) have the same origins as those of cave 285, suggesting they could probably have been made by the same artisans.