莫高窟148窟作为盛唐末期敦煌大族李氏家族所开凿的家族窟，完成于唐大历十一年（776年）。与初唐开凿的331窟、331窟并称为李家窟，是李氏家族开凿的最大的一个石窟，也是莫高窟最具特色的洞窟之一。窟前所立的《唐陇西李府君修功德碑记》，《大唐宗子陇西李氏再修功德记》，与332窟前《李克让修莫高窟佛龛碑》更是研究敦煌莫高窟 的重要资料。经变壁画作为148窟洞窟内容的重要组成，同时也是敦煌莫高窟壁画中的一个重要类型，在隋唐时期最为流行。为了烘托佛国世界的宏大、庄严，通常经变壁画中会选用一组或几组建筑作为背景。唐代是建筑背景图像发展的成熟期稳定期，也是敦煌壁画中数量最多的背景素材之一。通常以相对完整的建筑群出现，规模宏大、布局完整、细节精确，这也是对唐代木构建筑单体和建筑群布局的重视反映，是研究唐代建筑的重要资料。本文尝试以148窟以及其中的具有建筑形象的经变壁画为研究对象，结合已经发表的经变壁画资料，运用图像学、类型学、建筑学的研究方法，从中归纳出建筑图像在经变壁画中的设计方法和特征，以及唐代建筑群布局的规律、建筑单体形象的某些可能性，以丰富对唐代建筑的认识。本文的研究工作主要包括以下三个方面：一， 对148窟的营造背景进行梳理，包括营造时间、营造者、以及洞窟的主要内容和信仰主题。二， 对洞窟内经变壁画中的建筑信息进行总结归纳，并以典型的经变壁画为案例，观察分析建筑群图像。找出建筑图像与实体建筑之间存在的场景关系。三， 结合经变壁画中的建筑信息，以及图像与实体建筑存在的关系，推测实际建造中可能存在的建筑群以及建筑单体。唐代建筑现存的实例不多，对于唐代建筑的研究更多的是以文献、图像为主要资料。如何将这些资料中的信息以建筑学的方式呈现出来，是本文的主要研究成果之一。

Mogao Cave 148 was built for the House of Li, a powerful clan in Dunhuang. When it was completed in AD 776, the glory of Tang Dynasty was fading away. As the last and largest of the Li Caves, the other two of which date back to early Tang Dynasty, it is one of the most characteristic among all Buddhist caves here. The two tablets standing before Cave 148, 《唐陇西李府君修功德碑记》 and《大唐宗子陇西李氏再修功德记》, are no less significant than 《李克让修莫高窟佛龛碑》(Cave 332) as essential materials for Mogao scholars.Murals representing ideas of Buddhist sutra, as a constitutive part of Cave 148 and an important category of Mogao art, were most popular in Tang Dynasty and the short-lived dynasty of Sui preceding it. To stress the magnanimity and majesty of the Buddhist realms, such art is usually painted against architectural backgrounds which reached maturity in Tang Dynasty and appeared in the best part of Dunhuang murals. The fact that the buildings were painted with precision and occasionally arranged in impressive constellations indicates that architectural volumes and complexes, wooden mostly, were valued in Tang Dynasty. There is much to learn from these murals about buildings at that time. ?This study of Cave 148 and it sutra murals whose architectural backgrounds are typical aims to, in association with existing literature on sutra murals and employing methods of iconology, typology and architecture, discover what is common among the designs and patterns of buildings in sutra murals. What’s more, we intend to expand our understanding of architectural forms and combinatorial patterns in Tang Dynasty.?This study comprises of three parts:1. Background: when and by whom Cave 148 was built; what elements does it contain; what religious motif does it exhibit.2. Generalize about building images in the sutra murals of Cave 148; analyze the represented complexes found in a select of typical murals; and establish scenario relationships between representation and actuality.3. Make informed conjectures, based on buildings in murals and representation-actuality relationship, about the buildings that might exist while the cave was built.For the want of extant Tang buildings, scholars have to rely on literature and imagery. One of the major contributions of this study is deepening our understanding of how to explicate information that these indirect materials embody in terms of architectural knowledge.