本文以隋唐时期敦煌壁画与中原青绿山水中的色彩表现为研究对象，通过形式、技法与功能的多层次比较，系统分 析二者在色彩结构、空间逻辑及创作语境方面的差异。研究发现，中原青绿山水追求理想化的自然秩序与审美自律，色彩结 构呈现封闭、程式化的特征；而敦煌壁画中的青绿元素则服务于宗教叙事与视觉教化，体现出开放、灵活的情境化表达。在 此基础上，本文进一步指出，敦煌对中原青绿形式的借鉴并非被动模仿，而是在地化的“功能重构”过程，体现了艺术跨文 化传播中接受方的主体性与创造性。本研究为认识隋唐绘画的多元互动提供了具体案例，对艺术传播理论的方法论反思也具 有启示意义。

This study examines the color representation in Dunhuang murals and Central Plains blue-green landscape painting landscapes during the Sui and Tang dynasties. Through a multi-layered comparison of form, technique, and function, it systematically analyzes differences in color structure, spatial logic, and creative context between the two. Research reveals that Central Plains blue-green landscapes pursued an idealized natural order and aesthetic autonomy, exhibiting a closed, formulaic color structure. In contrast, blue-green elements in Dunhuang murals served religious narratives and visual edification, demonstrating an open, flexible contextual expression. Building on this, the study further argues that Dunhuang's adaptation of Central Plains blue-green forms was not passive imitation but a process of localized "functional reconstruction," demonstrating the subjectivity and creativity of the receiving culture in cross-cultural artistic transmission. This research provides a concrete case study for understanding the diverse interactions within Sui-Tang painting and offers methodological insights for reflecting on theories of artistic transmission.