南、北响堂山石窟系密切关联皇室贵族的北朝晚期首要石窟寺院。本稿选取存在问题较多的北响堂山南洞与南响堂山1-7号窟作为研究对象，采用美术史图像学方法，探讨各窟造像、刻经内容及其相互关系，从而揭示洞窟所述整体思想。其一，阐明北响堂山南洞原初营建内容及其意涵，认为该窟下层主室两侧壁图像表现维摩诘经之佛国品场景，与后壁西方净土图像和前壁赞佛偈组合配置，共同表述修菩萨行而成就佛国净土的思想。下层廊柱刻经用于强化菩萨行思想。上层塔形龛内法华经造像与两侧刻经连带表述随宜说法和传承佛法意涵。其二，阐明南响堂山1、2号窟刻经时间，各部分造像意涵及其关联，认为这对洞窟整体以华严经思想为统摄，突出强调净土信仰，同时表述般若经、法华经思想与传法思想。其三，阐明南响堂山上层3-7号窟分期，推测4、6号窟延续北响堂山南洞造像思路，强调西方净土信仰同时，表述大乘菩萨行尤其救济思想。5、7号窟三壁主尊组合表述娑婆世界众生将来往生净土世界意涵，并以周壁浮雕造像表述法华经思想与传法思想。总体而言，北响堂山南洞与南响堂山石窟造像及刻经发展情况，反映了菩萨行思想及净土信仰交织，并呈现南北朝佛教向唐代佛教过渡的阶段性特征。

Xiangtangshan Grottoes are considered the premier grottoes of the Northern Qi dynasty. This study focuses on the South Cave of Northern Xiangtangshan and Caves 1-7 of Southern Xiangtangshan, using the research method of iconography, to explore the content of each cave, as well as how different parts were related to each other in these caves, aiming to reveal the overall design idea of the grottoes.The second chapter clarifies what was included in the original construction of the South Cave at the Northern Xiangtangshan. In the main cave, the combination of Western Pure Land illustrations on the back wall, symmetrical Vimalakīrti-Nirde＆＃347;a-Sūtra illustrations on both side walls, and gāthā inscription on the front wall, conveys the idea that bodhisattva practice （Skt. bodhisattva-caryā） will achieve the Pure Land. The inscriptions on entrance porch columns, which emphasize the thought of bodhisattva- caryā, would be completed at the same time as the main chamber. On the upper floor, the statues in stupa-shaped niches and related Sutra inscriptions, mainly express the thought of the spreading and transmission of Dharma. The third chapter aims to clarify the meaning and connection of each part of statues, and the construction time of the inscription in Caves 1 and 2 at Southern Xiangtangshan Grottoes. This pair of caves which were dominated by the thought of Avatamsaka Sutra, also emphasized the belief of Pure Land, the thoughts of Prajnaparamita and Lotus Sutra, and transmission of Dharma. The fourth chapter clarifies the dividing stages of Caves 3-7 on the upper floor at Southern Xiangtangshan Grottoes. It is speculated that Caves 4 and 6 continued the design idea of the South Cave at the Northern Xiangtangshan Grottoes, emphasizing the belief of Western Pure Land, and expressing the Mahayana Bodhisattva-caryā, especially the Bodhisattva Relief thought. The combination of the main statues in Caves 5 and 7 expressed the meaning of the living beings in the Saha world will be reborn in the Pure Land. The smaller statues on the surrounding wall mainly expressed the thoughts of the Lotus Sutra and transmission of Dharma. Ingeniously integrating various Buddhist thoughts, Xiangtangshan Grottoes reflect characteristics of Buddhism in the transition from the late Northern Dynasty to Tang Dynasty.