敦煌莫高窟唐代彩塑将三维造型与矿物质色彩融为一体，其视觉表现力难以从单一维度加以阐释。本文以莫高窟唐 代典型洞窟彩塑为考察对象，从明度对比与体量塑造、色相冷暖与空间层次、纯度梯度与主次秩序、色彩节奏与造型韵律四 个维度，系统剖析造型与色彩之间的协同运作机制。研究表明，唐代彩塑的色彩并非造型完成后的附加装饰，而是与体量、 姿态、空间布局深度结合的结构性要素，二者共同建构出完整的宗教叙事与审美秩序，其协同智慧对当代公共艺术与色彩设 计亦具有借鉴价值。

The Tang Dynasty painted sculptures in the Mogao Grottoes of Dunhuang integrate three-dimensional forms with mineral-based colors, and their visual expressiveness cannot be grasped from a single dimension. Taking the painted sculptures in typical Tang Dynasty caves of the Mogao Grottoes as the research object, this paper systematically analyzes the synergistic mechanism between form and color from four dimensions: lightness contrast and volume shaping, hue temperature and spatial layering, saturation gradient and primary-secondary order, and color rhythm and formal cadence. The study shows that color in these sculptures is not an additional decoration post-sculpting, but a structural element deeply integrated with volume, posture and spatial layout. Together, form and color construct a complete religious narrative and aesthetic order, and their synergistic wisdom offers valuable references for contemporary public art and color design.