净土变是敦煌莫高窟在隋唐时期最为流行的壁画题材之一，其中保存有大量规模宏大、布局完整、细节精确的建筑图像，是了解唐代木构建筑和院落布局实物以外最忠实可贵的资料。本文选择通过图书出版发表和“数字敦煌”网站发布的净土变图像，通过类型学、图像学以及建筑学等方法进行分析研究，讨论其中建筑图像的设计方法与特征，建筑布局的规律，建筑单体和组合形象可能的来源。本文可分为上下两篇。上篇是针对莫高窟中净土变这一特定题材的图像研究，首先是图像的创作背景与素材，包括隋唐时期宗教信仰情况，净土变创作所依据的经文内容和画稿情况；其次，按照时间序列对建筑图像进行分析、整理和归纳，总结出几种有限的构图类型，并探讨各种类型之间的发展演变关系；最后从壁画绘制、建筑画、经变创作等多个角度，讨论图像作为历史资料提供的建筑信息的特征。下篇是对图像中建筑形象的具体分析。以上篇提出的构图原型为线索，首先对建筑的整体布局进行还原和分类，寻找其类型学发展规律。对于在各类整体布局位于画面核心位置的固定组合，以及以往研究中尚未提到的单体形象，对于其在现实建造中可能的蓝本进行分析和推测。在核心组合中，重点考察“一正二配”建筑布局的多重变化；在单体建筑中，则考察殿挟屋，多层建筑以及钟楼和经楼的发展演变。最后是对172窟北壁建筑画的线描性临摹与建筑图纸的复原，亦即上文成果在单一案例中的集中体现。

Pure Land representation is one of the most popular theme in Mogao Grottoes’ wall painting during the Sui and Tang Dynasties. Containing a large number of large-scale, well-prepared, detailed and precise architectural images, it is the most faithful and valuable source for understanding the Tang Dynasty wooden architecture and the physical layout of the courtyard, second only to the few physical remains. This dissertation studies the published Pure Land images through methods of typology, graphics, and architecture, discussing the design methods of architectural images, their characteristics, the rules of building layout, and the possible sources of these images in comtemporary buildings.This dissertation includes into two parts. The first part is a study of Pure Land representations in the Mogao Grottoes as a specific content. The religious beliefs during the Sui and Tang Dynasties, the Buddhist scriptures, the drafts used in wall paintings, these are the background and material of the creation of the Pure Land images. Then, the images are analyzed in a chronological order, and sorted out and summarized in several compositional prototypes. Then is a conjecture of the development and evolution among these prototypes. In the end is a disscuss about how architectural information is presented in these images. This question is discussed from the perspectives of fresco painting, architectural painting, and Sutra painting creation.The second part is an analysis of architectural images in Pure Land paintings. First, using the composition prototypes proposed in the above article as a clue, to restore and classify the layout of the architectural painting. This work helps finding out the typological development law. As for the fixed combination, mainly “central hall/tower and two building on both sides” that appears in the center of most images, and single building images that were ignored in previous research, this part analyzes and speculates on the possible blueprints in comtemporary construction. In this process there are three focuses of observation. The first is xiewu, a main volume with two attached parts in both sides. The second is the subdivision of multi-storey buildings: lou, ge and tai. The third is about the bell tower and Sutra depository. In the end is a line-drawing copy as well as a restorational architectural drawing of the painting on the north wall of the Mogao No. 172 Grotto. This single case is also a concentrated expression of the above studies.